Oldies But Goodies {Put This One on Your TBR List} Book Reviews: Three Fantasy Horror Selections by T. Kingfisher by Karen S. Wiesner

 

Oldies But Goodies

{Put This One on Your TBR List}

Book Reviews: Three Fantasy Horror Selections by T. Kingfisher

by Karen S. Wiesner 

Beware potential spoilers! 

I read a tremendous amount of T. Kingfisher (who also writes and illustrates under her real name Ursula Vernon) books in 2025, and I've been reviewing them for my Friday column here on the blog for much of that time. Because there are so many, I've been trying to do combined evaluations of her works according to series, genre, and/or theme. This week, I'm grouping three of her stories under the category of adult fantasy horror. 

Before I start, I have to lament about the fact that library apps tend to be insufficient when it comes to following prolific authors. I have two different library apps (Libby and Hoopla) and cards from two different physical libraries, yet I find that, even with all of that, I can't get everything I'd like in order to read/listen to everything by Ursula Vernon and her alter ego T. Kingfisher. Libraries should really commit to an author--all or nothing. If I like something by an author, I want to read her entire body of work. I think most true readers feel the same. In the case of this particular author, I wasn't able to get everything via the library apps or at the actual locations themselves. I ended up purchasing new trade paperbacks of each because I couldn't get them from the library. Of Kingfisher's body of work, these are probably my least favorites. Sigh! 

After reading so many of her eclectic selections, I've deduced that this author is uniquely her own--whether she's writing adult or kids' fiction, whatever the genre she writes in. She has her own style that flouts all conventional definition, and these are no exception. I like that, but it can also be an issue when you're reading a lot of her titles at once. In some ways, it's like the fact that Julia Roberts is always Julia Roberts in all her films. As an actress, her own personality bleeds into her work so it leads to her being typecast. She's tried to get out of that by doing different genres, including several unflattering roles, but the end result, unfortunately, is that Julia Roberts is always Julia Roberts. If you like her and think she's a great actress, as I do, then that's fantastic for you and her. If you don't, then probably not so much. In the same way, T. Kingfisher/Ursula Vernon seems to me to be, basically, the main character in anything she writes. Most of the time, that works for her; rarely, it doesn't quite make it. 

Note that I'm reviewing these selections in the order I read them, not the order they were published in.  

The Hollow Places is an adult fantasy horror novel published in 2020. Kara is the main character. Newly divorced, she's invited by her uncle to live at his unusual museum featuring weird "natural wonders" while she gets her bearings. While she's there, wanting to keep busy and avoid the melancholy of her situation, she stumbles upon a mysterious portal. She and her old friend Simon from next door enter it and become trapped in a nightmare, alternate universe. 

By all definitions, this one sounds like everything I'd love in a book. Yet I didn't. The protagonist and her companion didn't seem as well fleshed out as the characters in the previous stories I'd read of this author's. Additionally, it reminded me a lot of Alice in Wonderland and Gaiman's Nevermore, both of which I want to love but ultimately just don't. Too many insane events take place in stories like these, and, in my opinion, simply don't form a cohesive whole that I can connect with. It all just strikes me as random, unappealing crazy- or silliness. For fans of Wonderland and Nevermore, I imagine this one could be an amazing, upside-down adventure. 

A House With Good Bones (clever title) is an adult horror novel with a touch of modern gothic thrown into it. It was published in 2023. The heroine Sam takes an extended vacation from work as an archaeoentomologist (she studies insects and arthropods recovered from archaeological sites) because her brother is worried about their mother. Sam quickly realizes he was right to be concerned. Her mother seems different. While investigating why, sometimes with the help of her mother's handyman, Sam stumbles onto a lot of family secrets and peculiarities within the house and outside, in the rose garden. As usual in these kinds of stories, sometimes it's better to leave the past buried. After all, curiosity always tries to kill the cat. 

I expended tremendous effort trying to get into this story. I read a plodding chapter, took a break for a few weeks, read another slow chapter, went on to something else for a very long while. At that point, I knew I was going to have to buckle down and work really hard to force myself to read it. I'd purchased the trade paperback, brand new, so I didn't want it to be for nothing. 

There were a lot of interesting parts to the story. Sam is a well-constructed character with Kingfisher's typical big personality chock full of unique humor. My problem with all of Ursula Vernon/T. Kingfisher's work is that her main characters are constantly uttering little "asides" in introspection that can take over so they're no longer amusing injections but annoying blockades to plot development. There are so many of them, it became like I was reading someone's stream of consciousness journals! Each one is a detour from the main story, and that can get boring and overwhelming when trying to get into a particular story. 

Combine that problem with the fact that this story was such a slow burner. Having read The Hollow Places first, I got an inkling of where the faults in this particular genre were for the author, but here I was really slapped in the face. My crux issue is that the author seems to have a problem developing horror. Every time things got scary, it was as if she herself jumped onto the page and jarred us out of the story with off-putting and off-piste commentary that detracted from the action. It really broke up the tension and left me deflated and disappointed. I read horror because I want to be scared out of my pants. I want to chew my nails. Why would an author pop that balloon of rising terror when it's the whole purpose? 

As contradictory as this is going to sound, I did end up liking A House With Good Bones. You know, despite itself. It was an unusual story with creepy roses and bugs and a compelling twist on the obvious villain. In general, I liked the main character, but the over-excess of personality did get overwhelming sometimes. I wish it hadn't been so hard to get into, such a challenge to make it all the way through. But I was glad to have read it despite its slow and uneven pacing and the author self-sabotaging when it came to developing the horror. If you can stick with it, as I forcefully did, I think you'll be glad you did. 

The Twisted Ones is an adult horror novel published in 2019. While between editing jobs, Melissa, aka Mouse, accompanied by her loyal, sweet but dopey coon dog Bongo, ends up clearing out her so-not-beloved grandmother's house crammed with everything imaginable hoarded over the course of a lifetime. Early on, she finds her step-grandfather's journal and begins to be pulled into the crazy world he lived in in his final years. Local folklore combined with the old man's rantings about incoherent dreams of the woods and its bizarre, creepy creatures mingled with her own intrigue with the journal could lead her down a path there can be no return from. The local neighbors are certainly colorful and full of not-quite helpful information and support.

As in the previous two stories, we have what I believe is T. Kingfisher's fictional counterpart playing the starring role with the specific details like job, friends, and names, etc. being slightly changed up. Again, we have a male "protector" who doesn't quite live up to the role of hero, doesn't become a love interest, doesn't actually feel all that necessary to the story one way or the other. Instead, a new friend takes on the role--foolishly and unbelievably--of accompanying the heroine when she has to go against all sense and reason to confront the evil stalking her. Once more, there are way too many asides distracting from the plot, and the author defuses all the tension every single time before it really comes to a head. 

It was so hard to get into the story in the first place, and sticking with it was a daily struggle. The Twisted Ones wanted to be scary but it wasn't. Instead, it was just weird--probably as weird as her inspiration for it (mentioned in the Author's Note), apparently an Arthur Machen found manuscript called "The White People" that was published in 1904. I haven't even heard of it. While I'm glad I finished it because the core story was worthy, I didn't love the execution of this tale any more than I did the previous two. 

I hate to say something like this, but these three books seemed disturbingly similar as I read them. It was almost as if they were one book and the author just swapped out miscellaneous technicalities to make them slightly different. A House With Good Bones and The Twisted Ones, in particular, felt way too much alike. At least initially, the "Scooby Doo" lovable dog made this one much easier to read because at least the main character wasn't just talking to herself. Now she was directing her nervous tension onto her pet, which made everything a lot more palatable. I also wasn't a huge fan of the "past story told in journal entries" plot advancement. I won't lie to you--those were extremely hard to get through. In my opinion, it was a lazy way to tell the backstory, almost like those cabbagehead-isms from Star Trek, where characters are wont to say, "As you know…" before launching into important information about the plot that the viewer needs to know. 

~*~

I was looking for pee-my-pants chills from these three books, but I got novelty weirdness instead. Alas, I expect a lot of readers who like freaky, strange tales rather than true horror might like these three vastly more than I did. In general, I'd say the core narrative of each was good and pushing through to get to it was, at minimum, rewarding. 

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website and blog here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog and her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

{Put This One on Your TBR List} Book Review: The Graceview Patient by Caitlin Starling by Karen S. Wiesner

 

{Put This One on Your TBR List}

Book Review: The Graceview Patient by Caitlin Starling

by Karen S. Wiesner 

   Beware spoilers! 

Caitlin Starling's previous new release, The Starving Saints, garnered a lukewarm, undeniably disappointed review from me (see

https://aliendjinnromances.blogspot.com/2025/08/put-this-one-on-your-tbr-list-book.html) here on the Alien Romances Blog. As a result, I decided to hold off on purchasing the hardcover of The Graceview Patient, released October 14, 2025, despite that she's written some of my favorite novels (The Luminous Dead and The Death of Jane Lawrence--also reviewed on this blog and accessible with a search). While waiting for the paperback release, the audiobook version became available on one of my library apps so I borrowed it immediately. 

In The Graceview Patient, we're set up with what sounds like an absolutely irresistible horror scenario that was described in promotion as "Misery meets Invasion of the Body Snatchers". Okay, well, more so the latter than the former definitely got me drooling. Margaret has a rare autoimmune condition that wrecks any chance of her living a normal life. Without a cure, she's barely making it day by day until she's offered a spot in an experimental medical trial that's fully paid for. She'll be forced to live at Graceview Memorial Hospital full-time and subjecting herself to a treatment that will all but kill her. The fact that she has no one to go through it with her (apparently she's alienated every single person she considered relative or friend) doesn't initially bother her too much. The man in charge of all this, Adam, is charming in a way that Margaret has no willpower to resist. As the trial progresses, she begins exploring the hospital and finds something that only becomes increasingly more sinister the longer her trial goes on.

I'm not gonna lie to you: The early chapters of this book were absolutely brutal--so boring, it was almost painful to force myself to continue. In part it may have been done in this seemingly innocuous way in order to throw the reader off. But I have to comment on two aspects of this: 1) The audiobook was recorded at such a low volume that, even with my speaker hooked up and at full volume, I could barely hear it, and 2) the audiobook narrator had a voice all but designed to put a listener to sleep. I realized later that the intention was to come off sounding like the patient who progressively becomes sicker and sicker. She captured that in spades. Despite that there was a reason the narrator read this book the way she did, it was still difficult to endure. If it hadn't been a Caitlin Starling book, I might not have continued with it all the way through. I am glad I did, though, but the narrator choice did skew my initial perceptions of the story. Do I believe that the ebook or paperback would have been any better? No. I'm almost certain I would have struggled even more with those formats than this one. This book was written like a dry textbook. Only when you were too far into the net to back out did it become exciting and suspenseful. At all times, though, it was like watching a train wreck in slow motion. At no point did that cringing let up. 

One further complaint: All throughout the story, the author sprinkled in what could only be perceived as annoying "tell the story before I tell the story" injections, such as things like "maybe I should have been afraid or suspicious by that but I wasn't". If you don't believe you can set up a horror story well enough to be frightening when the time comes, this is the method you'd attempt to make it so. I register a full poo-poo on such a weak and unprofessional delivery system! I was taught early on as an author to never do that, and I agree with the advice wholeheartedly. 

All these issues aside, you have to read this full-on horror story! I can't imagine a single person alive not being anguished at the thought of being sick beyond cure, desperate to find any hope at all, and taking a risk however perilous that might lead to life--a risk that never would have been an option until that point. I can promise you that, once you've read The Graceview Patient, you'll never go near a medical facility without wondering what you're getting yourself in for, without being justifiably a little afraid. Do an internet search for "what bacteria/virus/infection is prominent in healthcare settings" and read some of the articles that come up. Do you know there's actually an acronym for contracting an infection that wasn't present at the time of admission while you're receiving medical treatment (HCAI)? Apparently, some believe that medical centers should be completely "restarted" every decade or so, as it's the only way to really avoid HCAI. I didn't delve too deeply into HCAI in large part because I really don't want to know. There's enough horror in life these days without adding to it with a million "what ifs". 

The Graceview Patient sneaks up on you. You'll probably start out bored (as I certainly was) and, before you know it, you're canceling your next doctor's appointment because…you know, you're really not as sick as you thought you were. It does a psychological number on you, maybe permanently. You'll never look at health, hospitals, or experimental trials the same way again, let alone what constitutes sentience, what should be allowed to live and thrive… While this recommendation comes with quite a few disclaimers, if you like horror--especially the real-life-this-could-actually-happen!!! kind--you won't want to miss this one. 

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website and blog here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Oldies But Goodies {Put This One on Your TBR List} Book Review: I Am Legend by Richard Matheson by Karen S. Wiesner

 

Oldies But Goodies

{Put This One on Your TBR List}

Book Review: I Am Legend by Richard Matheson

by Karen S. Wiesner 

  

Be aware that there may be spoilers in this review. 

I Am Legend by Richard Matheson was published in 1954, a post-apocalyptic horror novel that set the stage for zombie and vampire literature that's flooded in ever since. As with many of these types of stories, the concept of a worldwide apocalypse spreads through disease. In this tale, the vampires that populated what was left of the world more closely resembled zombies, despite what the protagonist called them. 

Robert Neville is the last man on Earth. A terrible plague has either killed mankind or transformed them into vampires...and all they want is Robert's blood. Robert's wife, Virginia, and daughter, Kathy, died from the plague. Kathy's body had been thrown in a fire pit. He hadn't allowed that to be done to his wife--he'd tried to bury her, but she came back, and then he had to kill her as he had the others. 

For the past eight months, since the plague infected the population--a plague he himself is immune to--Robert has been surviving the only way he can while systematically trying to get rid as many of the vampires as he can during daylight. By day, he also tries to repair the damage done to his property during the night attacks. He lives by his watch because, as soon as the sun sets, he must be behind locked doors and boarded windows. The vampires are drawn to him every single night, howling, snarling and trying to break through the barriers he's erected to keep them out. They want his blood; they want to make him as they are. He understands little about them beyond that they stay inside by day, avoid garlic, can be killed by a stake through the heart, fear crosses, and dread mirrors. The creatures are white-fanged and powerful, frequently attacking each other because there's no union among them--their need for blood is their only motivation. 

Robert isn't sure how much longer he can do what he's been doing--little by little trying to reduce their unholy numbers. He has no time to slow down and think, because his struggle is never-ending, but eventually he's driven to test the blood of a vampire and finally isolates a germ--the cause of vampirism. Sunlight kills the germ. It's too late to cure those who have already been infected, but, if there are others like him, how can he cure them? 

Robert finds a dog that seems as whole and intact as he is; later, a young woman, Ruth, who's survived all of this as well. Having believed that his investigation into how to destroy the vampires is worthless and that he has no reason for staying alive, the possibility of a life other than his own, a companion, renews his determination to keep fighting. He's clung to the idea all this time that a human being not infected will come, that he isn't the last person on Earth. But Ruth has a secret that could change everything, all he's known since the plague started, as well as his own views about survival.  

Richard Matheson is a master at creating stories like these, where the descriptions of the chilling settings, scenarios, and characters are so robust and realistic, you become convinced you're huddled in a fortress of a house smothered by shrieking, starving and subsequently ravenous creatures who not only want you dead, but want to eat you for dinner--though, in this case, it'll probably be a last meal. Every ounce of torment and torture this lone character feels day after day, endless night after night, is detailed as if you're sitting right next to the character, experiencing the suffocating burden laid on these weary shoulders. The flicker of hope at the potential of no longer being alone is utterly heart-rending. Even if Robert is a man who's grown rusty and bitter, forced into isolation, the reader can't help but be shattered by every blow he takes as if we're also receiving it. 

Simply put, no one can really top this masterpiece that set countless standards in supernatural, creature horror, end-of-the-world fiction. Fittingly, the Horror Writers Association bestowed on I Am Legend the Vampire Novel of the Century Award in 2012. 

As for the author's inspiration in writing it, Matheson credits Mary Shelley's novel The Last Man, where an immune person survived a plague that destroyed the world. Three films loosely based on I Am Legend were made (some under different titles), but the one I like best is the one that actually took the same name as the book and starred Will Smith (released in 2007), though of course none of the adaptations really follow the book version closely, which is kind of a shame. 

Readers would be remiss not to give this influential story a first or subsequent read or a watch, if you'd prefer a more visual medium that can appropriately be enjoyed in the dark. 

Next week, I'll review another Oldie But Goodie you might find worth another read, too. 

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

The Comforts of Horror

An essay that resonates deeply with me, although many people might consider it shockingly counter-intuitive:

Horror Can Be Comforting

Horror fiction and film allow us to "enjoy being scared. . . . at a safe distance," knowing it isn't real and we can close the book or magazine or turn off the movie anytime. The author, Rami Ungar, divides horror fans into Adrenaline Junkies (thrill seekers), White Knucklers (who "see horror as a challenge to get through"), and Dark Copers (for whom horror is therapeutic). For Dark Copers, "horror serves as an escape from the current problems of the world" and "provides both reassurance and a restoration from life’s difficulties, reminding them that their own life isn’t as bad as it could be and helping with feelings of anxiety and depression."

C. S. Lewis, discussing fiction as "escape," notes that even the most depressing, mundane "slice of life" story can serve that function. Reading about imaginary people's problems, we can escape our own for a while. As Ungar says, for the Dark Coper a horror story provides that kind of refuge.

In Stephen King's nonfiction survey of the field, DANSE MACABRE, he maintains that at its core the purpose of horror is facing our fear of death in the safe space of stories. Mark, a boy character in 'SALEM'S LOT, believes "death is when the monsters get you."

My favorite literary comfort food, traditional supernatural horror (such as many of King's works), often has a numinous quality. It evokes a sense of wonder, even though mingled with fear, by positing phenomena beyond the merely material realm. It explores the possibility of life after death, although maybe a kind of existence most of us wouldn't want. Even H. P. Lovecraft's cosmic horror, based on the premise that the universe is totally indifferent to terrestrial organisms, with "monsters" that take less notice of us than we do of individual ants, expands the mind. Horrifying though it is, it's still cosmic.

On a more human scale, most supernatural horror involves conflict between good and evil. With knowledge, luck, and faith, the good guys can defeat the evil entities. G. K. Chesterton replied to adults who worried about fairy tales scaring children, as paraphrased by Terry Pratchett, “The objection to fairy stories is that they tell children there are dragons. But children have always known there are dragons. Fairy stories tell children that dragons can be killed.”

A list of "cozy horror" books, a phrase that sounds like an oxymoron:

Cozy Horror

I'm puzzled as to how this blogger defines "cozy." Maybe it's equated with "domestic horror" or "family horror"? The three books on the list that I've read, HOW TO SELL A HAUNTED HOUSE, THE VAMPIRES OF EL NORTE, and THE BEWITCHING, don't impress me as one bit cozy, but deeply disturbing. Rami Ungar defines this subgenre as fiction that "aims to give readers a slight thrill while also keeping them at a far distance from the horror of the story, so they don’t become too terrified," for instance by setting it in a remote time or place. In case you're looking for scary novels with an actual "cozy" feel, however, the first that pops to mind for me is one of Barbara Michaels's early ghost stories, AMMIE, COME HOME.

Years ago, when one of our sons spent a few days in a rehab facility, he asked me to bring him some particular books. The staff wouldn't let him have them because they were horror. I was baffled; those novels served as "comfort reads" for me. In his situation at that time, one would especially need reassurance that dragons can be killed!

Margaret L. Carter

Please explore love among the monsters at Carter's Crypt.

{Put This One on Your TBR List} Book Review: The Starving Saints by Caitlin Starling by Karen S. Wiesner

 

{Put This One on Your TBR List}

Book Review: The Starving Saints by Caitlin Starling

by Karen S. Wiesner

 

 

Beware spoilers lurking in a novel with more shadows than were probably intended! 

Wow, did I not know what to make of this dark, medieval fantasy novel, The Starving Saints, the newest (published May 20, 2025) from Caitlin Starling. This author is firmly on my to-buy list--and, in fact, I purchased the hardcover almost as soon as it came out. Even as I did it, I realized it was a risk, as I seem to react to Starling's books as either a ravenous fan or a reader irrevocably repulsed. Her novels The Luminous Dead and The Death of Jane Lawrence (both reviewed previously on this blog) are favorites of mine. That said, the stories I tend not to like by her are still uniquely, unmistakably Starling works. I'd want to read them, even if I ultimately hated them. Her handling of certain subject matters horrifies me…and probably not the way she would have preferred in this case. I'd have to put this particular novel firmly on the list of those by her that I didn't like. The reasons are as complex as the story itself. So let's get to it. 

The basic story here is that Aymar Castle (set in a made up, medieval fantasy world) has been under siege for the past half a year. With food stores running low, hope dwindles, and desperation becomes the order of the day as there's seemingly no way out of this place. Then, out of nowhere (readers are never really told or made to understand how or definitively why), The Constant Lady and her three Saints (a twisted take on established religion that cruelly portrays bees--unequivocally summum bonum in the world of insects!--as villains) appear. The so-called divine offer sustenance and healing in exchange for adoration, but the price is far too high--at least for three main characters. Having a trio of points of view offered a 360-degree rendering of this dire situation. Whether or not these viewpoints are adequately well-drawn is, to my mind, a moot point. 

Phosyne was a nun who's become a sorceress of sorts (no idea what brought that about). At the king's command, she somehow--even she doesn't know how she did it--turned fouled, toxic water into potable drink for the survivors. He's now tasked her with conjuring food out of nothing and nowhere, a known impossibility. But kings in any universe are always petulantly and imperiously demanding miracles of their underlings. That said, Phosyne wasn't a character to champion. In the latter half of the book, she speaks her true goal, and it's not pretty. Phosyne accuses the Lady of "playing with her food", and the evil deity shrugs off any guilt about seasoning her meat, keeping it occupied, and providing fertile fields for it to gorge itself. Soon Phosyne would understand the gratification of "having everything available to" her hungry teeth. It's at that point that this dubious heroine realizes she is hungry. "But it's not the hunger of an empty stomach. It's the need to taste. To chew. To consume. She wants to indulge." So, that's her angle in all its potentially ugly facets. 

Ser Voyne is a knight, a war hero pledged to the Constant Lady as well as to her king, even if she doesn't exactly respect him. Voyne is trying to keep order over a place plunged into utter chaos. She has to decide whether following orders is wise when the leaders no longer know or are willing to do what's best for the people. As a character, Voyne is wishy-washy. When she finally answers the question about who to "worship" (because that's precisely how she loyally obeys), it's little more than transferring her disturbing adoration from one unworthy target to another. 

Treila is a noble pretending to be a serving girl who refuses to admit to herself that she'd lusted after the big, beautiful knight who'd murdered her father. Now she longs for revenge. Or does she long for something far darker? Imagine someone willing to do anything, no matter how depraved, to survive. In Treila's world, it's literally eat or be eaten. And she's fully capable of doing whatever needs to be done to help herself. Not exactly noble or worth rooting for from my perspective. 

All of these protagonists were weirdly complex and equally superficial. (Trust me, I think you'll understand that contradiction if you read the book.) One reviewer described the main characters' lack of development as "flip-flopping like a dying fish". True, we learned little more about them than what was necessary for the plot, a failure that struck me as sloppily convenient. That's just part of it though. None of these women were precisely good nor precisely evil--a complication that led to my lingering frustration over this book. If there's no one to root for, what's the purpose? Naturally, I couldn't champion the Lady or her saints--they were full-on evil. But the three heroines had agendas and motivations I didn't feel comfortable getting onboard with either. Starling's own definition of them as "complicated and sometimes terrible" was accurate. At least two of the protagonists were portrayed as selfish and abnormally self-serving while the knight seemed short-sighted and foolish with her blindly loyal veneration of unworthy beings. 

Starling is noted for her lesbian fiction, which is generally well crafted. But the three-way attraction between these women came off as forced and far-fetched. There was nothing sexy or authentic about it. Again, why? What purpose did it serve to force them to ally when few compelling, let alone strong, connections actually bound them? 

Unequivocally, The Starving Saints failed as the horror novel it was hailed as in everything I read about it. In an interview, the author said that she's a "big believer in limiting the narration of a story to what the characters perceive and comprehend, or don't. I keep my 'camera' very zoomed in." She asserts confidently that that enhances the horror. I found it did exactly the opposite. Not knowing what to be afraid of or to dread was my biggest disappointment with the story. Starling knows how to create atmosphere. She's effortlessly brilliant at it. However, as promising as this slow, plodding novel started out, the unnerving undertone quickly became mired in too many instances of dense fog. Should I have been horrified by the cannibalism (it was an unrestrained, gore-strewn, grotesque ick), the monsters (which ones were good or evil? who knows), the corrupt agendas of all, the shocking misuse of power by everyone who wielded it at various times as the story progressed? All hints at creepiness fizzled out because nothing came into focus clearly enough to scare the crap out of me--you know, my deepest longing when reading a horror novel. The author drowned readers with characters flagrantly telling, not really showing us, wild theories about all these hazy, shadowy things, but none were convincing enough to be presented as more than abstract methods of confusion. Ultimately, there was nothing scary, beyond that a writer would indulge in writing something like this without developing the plot and characters on a concrete foundation that helps ground readers from start of story to what I wanted to be a dazzling finish. (As to that, I didn't trust the hands left wielding all the power so it was the exact opposite of a happily ever after. But I guess those are no longer what readers are looking for.) In the end, it all came down to floundering for answers that were kept away--because the author herself didn't have any; hadn't even bothered crafting them. That stinks of laziness, not deliberate cleverness, to me. 

Long years ago, I remember going on my first ever fantasy LARP quest before it became a big deal or was in any way well-done. No one on my team knew how to get started, what we should be doing, what was, frankly, going on. We spent a lot of time racing around, searching for clues that providing little more than added uncertainty, and looking at each other, expressing our confusion in these glances as well as in our increasingly frustrated words. That's what I felt like I was doing alongside fellow readers while reading The Starving Saint. Readers need, at the very least, veiled, skillful directions, just as LARPers (especially beginning ones) do. My LARP team members were all thinking, Do you know what's going on? What that's all about? Is it important? What is important? Who should we be rooting for? Is that the bad guy? What should be paying attention to? Where are all these unformed details going? Is there a purpose to this or anything? I never really found out the answers to any of these questions before closing The Starving Saints for the last time. I felt lost and unsatisfied for most of the disturbing events in this massacre of a story. 

If I had to guess at the purpose of The Starving Saints, I'd throw out the nebulous theory that the author was playing with the ramifications of absolute power corrupting absolutely. Even someone who starts out altruistic will eventually fall to the hypnotizing lure and potential of power. But, as no one in this story qualified as a bona fide hero, that lesson didn't really come across. A wanna-be hero doesn't have far to fall themselves. There's little difference between them and the villain. Seems to me a waste not to set the stakes higher. But these days, it seems no one wants a hero in their fiction, something I'll probably never understand. 

The setting itself was deliberately sketched to be obscure; on the whole, a bubble world set nowhere in particular to deflect attention from it. However, this isn't an insult. In this, I felt the lack of development fit the needs of the story. None of the characters in the castle realized the outside world no longer existed because the indeterminate antagonist(s) had enclosed it in a honeyed hive, where nothing could touch or steal its prize. In soft echo, I was harkened back to Poe's brilliant "The Masque of the Red Death" with this tale. To me, that was its saving grace. 

A lot of minor things bugged me while reading this: 1) How often Starling fell into modern slang so out of place in a medieval setting, 2) how randomly and inconsistently the author used contractions, and 3) the use of cliffhanger chapters without adequate picking up of the threads once that particular point of view was revisited.

In the author's defense, (she tells us in the acknowledgements in the back of the book) she wrote the initial draft of this book during the COVID lockdown. She wrote it in a messy, out of order way--an attempt to mirror and/or sort out her anxiety. I remember the book I wrote myself during the lockdown--what I, to this day, call my COVID book. While I ended up really liking it, it's hard for me to read it now without concluding it was written a bit too perfectly. During that time, I was so hollow and unable to feel anything that layering emotion into the story was a brutally exacting exercise of my skill with the writing craft. Everything the story needed, it has, and yet I was distanced by my own experiences during that suffocating time. I know I'm not the only author who suffered deeply and yet didn't want to lose my heroic feats at continuing my profession during such a dry period. My publisher and I decided my efforts were worth releasing to the world, and, in that way, something good did come out of a terrible circumstance. I never envied other authors and publishers the task in trying to decide what was worth saving from that time for them either. If nothing else, Starling created something unique with The Starving Saints that leaves an indelible impression. If you're like me, you'll have to read it because she wrote it and it could be one of the best books ever written, though, unfortunately, I didn't find it to be worthwhile, as several others of hers are. 

All this said, I'm still eagerly looking forward to Starling's brand new release, The Graceview Patient, (released October 14, 2025). 

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website and blog here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Oldies But Goodies {Put This One on Your TBR List} Book Review: The Island of Dr. Moreau by H. G. Wells by Karen S. Wiesner

 

Oldies But Goodies

{Put This One on Your TBR List}

Book Review: The Island of Dr. Moreau by H. G. Wells

by Karen S. Wiesner 

 

This first edition cover (UK), frankly looks like something the author's kid might have created with crayons. We've come a long way, baby. 

Be aware that there may be spoilers in this review. 

It's hard to imagine the classic horror novel, The Island of Dr. Moreau by H.G. Wells, is 128 years old. It was first published in 1896 and, oh, how it has stood the test of time! This story serves as our earliest depiction of "uplift", which is a science fiction motif where an advanced race intervenes in evolving an animal species to a higher level of intelligence. 

The Island of Dr. Moreau starts with a scientifically trained Englishman named Edward Prendick surviving a shipwreck in the Pacific Ocean. After being rescued by a passing ship, he's cared for by a man named Montgomery. There, he meets who he assumes is Montgomery's manservant, M'ling, a grotesque bestial native. The ship is transporting a variety of animals to Montgomery's destination--the island of Dr. Moreau, his employer. Once they arrive, Prendick is forced off the ship by the captain, and Montgomery agrees that he can stay temporarily, though few ships pass the island. 

It isn't long before Prendick recalls who Dr. Moreau is--formerly a promising, respected physiologist who was forced out of the scientific community once his gruesome vivisection experiments were exposed. Moreau has all but disappeared in the 11 years since. 

Hearing the screams of the doctor's tortured patients on two early occasions, Prendick is driven by compassion out of the enclosed compound into the jungle. There, he begins to piece together the true horror of what's being done on this remote island. He discovers a colony of half-human/half-animal creatures living in the jungle. They're led by a creature called the "Sayer of the Law". They recite over and over their law, given to them by Moreau, their maker, which prohibits bestial behavior: 

Not to go on all-fours; that is the Law. Are we not men?

Not to suck up Drink; that is the Law. Are we not men?

Not to eat Fish or Flesh; that is the Law. Are we not men?

Not to claw the Bark of Trees; that is the Law. Are we not men?

Not to chase other Men; that is the Law. Are we not men? 

When I was a kid and watched the 1977 movie version of this book, the ritualistic chanting made quite an impression on me. It shocked and horrified me that Moreau made them obey his laws or he'd severely punish them by sending him to the House of Pain. To be so far removed from those he's, in one perspective, fathered, to feel so little regret or sorrow for their condition, was inconceivable to me, even at that young age. 

Moreau later admits that these "Beast Folk" weren't formerly men but animals he's operated and experimented on in hopes of transforming an animal completely into a human. With each new subject, he wants to believe he's getting closer to perfection, yet each time they revert to their animal form and behavior eventually. 

The balance in this fragile environment begins to erode with Prendick and his intact sense of morality (something Moreau lacks entirely and Montgomery has been losing steadily, at the cost of his own sanity, all these years) pushing it toward the edge. Seeing Prendick's rebellious behavior toward Moreau and Montgomery, the beasts soon begin retaliating for all their years of pain and suffering at the hands of the true monster in their midst. 

To put this story into the context of the time period it was published, note that in 1896, the possibly of humanity's degeneration was being discussed fervently in Europe. That's a whole 'nother subject that can be embarked upon at the reader's leisure and level of interest aside from this review. However, suffice it to say that several groups rose in opposition of animal vivisection on the basis of the topic, and The Island of Dr. Moreau is the author's reflection on the ethical, philosophical, and scientific concerns and controversies of that time period, most especially inspired by the trial of Oscar Wilde. Wells said in his preface to his collected works that The Island of Dr. Moreau embodies an ideal but otherwise "has no allegorical quality". Sure, whatever. 

Whatever the case, it's just plain a fantastic story of horror and, like Frankenstein, takes the concept of showing the monster being more the ideal of what man should be than the man himself, and, in that way, the man is the true monster. This is a story that I can't imagine anyone not finding compelling. Every part of it is perfectly developed. 

The Island of Dr. Moreau has inspired countless artistic endeavors, more than can be documented in this short review, but each of these is a testament to a story so compelling, even a century later, we're still influenced by the resonating message it proclaims. The countless films that have attempted to follow the book version are mainly all worthy of being watched at least, but it's the novel that, above all, shouldn't be missed. 

Next week, I'll review another Oldie But Goodie you might find worth another read, too. 

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Oldies But Goodies {Put This One on Your TBR List} Book Review: The Time Machine by H. G. Wells by Karen S. Wiesner

 

Oldies But Goodies

{Put This One on Your TBR List}

Book Review: The Time Machine by H. G. Wells

by Karen S. Wiesner

 

Be aware that there may be spoilers in this review. 

The Time Machine by H. G. Wells was published in 1895 and is another story by this prolific author that's brilliantly passed the test of time. This forerunner of time-traveling fiction is as amazing now as it was in its own time period. A previous short story by Wells (1888's "The Chronic Argonauts", published in his college newspaper) was the foundation for the novella. 

I resisted reading The Time Machine for a long time because, as I said in my previous review of Timeline by Michael Crichton, I'm not a fan of time-travel fiction, which tends to be convoluted and dependent on too many elements having to converge at exactly the right moment or it simply won't work. In the case of 99% of these types of stories, I find the odds simply too astronomical for me to believe it's possible. And yet in every one of these stories, it does work. Impossibly. And, for the most part, stupidly. So I resisted this pivotal example of one of (the only two, in my opinion) the finest pieces of time-travel fiction available for a long time. Once I finally caved in and read it, it was nothing like I expected with elements of time-travel, yes, but also of horror and adventure, with a post-apocalyptic slant. 

Set in Victorian England (a time period I adore), a gentleman, scientist, and inventor identified only as the Time Traveller journeys into the far future and meets a small, "intellectually degraded", humanoid group called Eloi who live on the surface of the planet along with savage and simian Morlocks, underground darkness dwellers who only emerge at night to capture the Eloi. 

In the  story, the protagonist travels through time for a bit of adventure and goes right back out into other time periods using his machine after returning to tell his friends the tale of the Eloi and Morlocks. There is no deeper reason for his endeavors in creating and using this machine, but many since The Time Machine's publication have attempted to provide answers and justifications and sequels to this very brief story. I must say that I did actually enjoy the 2002 film version with Guy Pearce that gives the Time Traveller a deeply emotional reason for why he (a university professor and inventor) developed a time machine, as well as a name--Dr. Alexander Hartdegen. Follow-ups to the original story do hold appeal, but be sure not to miss the novella that started it all. 

Next week, I'll review another Oldie But Goodie you might find worth another read, too. 

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Oldies But Goodies {Put This One on Your TBR List} Book Review: The Terror by Dan Simmons by Karen S. Wiesner

 

Oldies But Goodies

{Put This One on Your TBR List}

Book Review: The Terror by Dan Simmons

by Karen S. Wiesner 

 

Be aware that there may be spoilers in this review. 

Two irresistible subjects for me are Antarctica and fictional horror creatures. The Terror came close enough to having both of them for me. This 2007 novel by Dan Simmons takes place in the Arctic, the most northern place on earth, while Antarctica is the most southern, but "ice everywhere you look" is a tidy description for both places. Simmons' fictionalized account of Captain Sir John Franklin's lost expedition to find the Northwest Passage from 1845-1848 has everything a boring, dry history book might skim over or even leave out--and it has the goods aplenty.   

The story starts with two HMS ships, Erebus and Terror, trapped in the ice 28 miles north-northwest of King William Island. They've been there for more than a year, their provisions are dwindling, and there's no wildlife to be hunted. But something is hunting them. Called "the terror", this indestructible monster seems to have taken the form of a colossal polar bear with a hideously long neck. Additionally, one of the parties sent out earlier encountered "Esquimaux" (Eskimos) while out on the ice. They shoot the old man, supposedly an accident, and end up bringing the young woman back to the ships with them. When they discover her tongue has been bitten off, they begin calling her "Lady Silence". 

The main character is Captain Francis Crozier, second to Sir John Franklin, who quickly becomes commander of the expedition when their leader is lost. Crozier is initially a drunk (forced into sobriety by a lingering illness) with insecurities stemming from his Irish heritage and his societally unimpressive beginnings which surely led to him being rejected as a suitor by the Captain's own niece. Crozier may or may not have psychic abilities. Other characters of note are Commander James Fitzjames, third in command, an upper-class officer in the Royal Navy. Dr. Henry D. S. Goodsir, an anatomist, considered the least of the four doctors caring for the crews, was a phenomenal character. In his unflagging humility and compassion, he gained the respect of both crews. The antagonist is most certainly Caulker's Mate Cornelius Hickey, who compels a desperate band of rebels to attempt mutiny. 

Before and after the dwindling crew abandons both ships, they're beset with one catastrophe after another in the form of starvation, illnesses and an unending catalog of maladies. It's discovered by Goodsir that the tinned provisions are all tainted with lead from soldering and are often putrid--the result of His Majesty's Navy taking the lowest bid to stock the ships with foodstuffs. Any help from the indigenous tribes is quickly squandered by the cannibalistic mutineer and his despairingly hungry band of insurgents. As if that isn't enough, the "Chenoo" ice monster that pursues them wherever they go seems to have a personal grudge against them. Does the Lady Silence, herself a shaman, know something about that? 

This book is absolutely not for the faint of heart. The landscape is ruthless and bleak (so well written, you'll feel the icy wind at the back of your neck, making you shiver). The themes explored arise from hopelessness, desolation, trapped and depraved conditions, where human beings are pushed right to the edge of humanity as well as sanity. With players being picked off left and right from every direction, you'll soon lose track of who you're rooting for, in some cases, because the protagonist is ripped from the story by a sudden and shocking death. The ending is unexpected and equally horrifying but I was somehow gratified by how it came back around to the beginning. (Beware spoiler below!) 

 

Crozier and Lady Silence, now lovers with children, are the only survivors of the tragedy. Their family comes upon the HMS Terror, still afloat almost 200 hundred miles south of her original "prison". After touring it, he sets it on fire and watches it burn and finally sink, lost to the ice, as the man he once was is and will now always be. 

 

Another reason this massive tome isn't for the meek is its sheer length. The hardcover is nearly 800 pages, larger than even most history books! One other thing threw me a bit--the story opened in medias res ("into the middle of things”), so chronologically, we were put in the middle of the plot instead of the beginning in these opening pages. I normally wouldn't mind that, but I entered a historical-like account in present tense, and whenever I was thrust in medias res, I felt like I was floundering and ungrounded. Luckily, most of the book wasn't written that way, but that nearly kept me from continuing both times I read this book--the first time when it initially came out as a hardcover in 2007 as well in as my recent reading. 

Additionally, Simmons has a very Stephen King-esque style of writing, in that he includes details that you either didn't want to know or would have assumed anyway if he'd just had the good manners to leave them out. Some call such information flavor. I call it bad taste. (I really don't care what color pubic hair or areolas anyone has, nor what someone's body does involuntarily while he's sleeping. Though flatulence did drive one particular plot of King's, I don't know of any other story that actually "benefits" from sensory details like this.) 

In any case, despite a cast larger than most encyclopedias, the characters in this setting, immersed in such a tense plot, are well worth the endeavor of taking on this intense reading project. Nearly twenty years after its publication, it certainly stands the test of time. 

If you're not up for this in-depth read, though, you don't have to miss The Terror's incredible story. There's a TV series that at least starts on the basis of Simmons' novel. The first season, making up 10 episodes, covers the entire novel, and pretty faithfully at that. Season 2 (and the upcoming 3) is also based on another mysterious event with a supernatural twist. Jared Harris as Crozier, Ciarán Hinds as Franklin, Tobias Menzies as Fitzjames, and Paul Ready as Goodsir were standout actors. In whatever form you choose to take in this story, just don't miss it. 

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Fungal Possession

I recently read THE GIRL WITH ALL THE GIFTS, by M. R. Carey. I'm not a great fan of zombie fiction or films in general, because typical zombies aren't so much characters as rampaging forces of natural destruction. This book is something else, though. The monsters responsible for the collapse of civilization are called "hungries," never zombies, although most of them fit the Z-word stereotype. Melanie and the other children in her "class" on a prison-like military base, however, are different. They're conscious and sapient. She doesn't remember any life outside the building where she's confined to a cell except when escorted to the shower or the classroom. She doesn't know she and her friends are hungries, since the staff follows strict protocols to avoid activating the instinct to attack and feed. Still less does she suspect the children are experimental subjects, kept alive solely in hope that studying them may reveal a cure for the pandemic that triggered the apocalypse. Nor does she know what happens to her friends who disappear.

Their condition is caused by a fungus that infests and takes over a human body, replacing the brain with a network of mycelium threads. The resultant fleshly automaton alternates between two states of being, passive immobility and ravenous attack mode. Children like Melanie, in contrast, have varying degrees of cognitive capacity as well as, apparently, emotion and free will. Most of the uninfected people on the base agree with the sergeant in charge that these alleged traces of humanity are just mimicry by the fungus-infected host. From observing Melanie's inner life, we know better. She's more than a "dead kid" animated by a parasite. In this next generation of hosts, the organism has established a form of symbiosis.

A fungal network also breeds "zombies" and causes societal collapse in the post-apocalyptic TV series THE LAST OF US (which I haven't seen):

Fungi Superhighways

One of my favorite horror novels from T. Kingfisher, WHAT MOVES THE DEAD, retells "The Fall of the House of Usher" in science-fiction terms as a story of biological possession. A fungus lurking in the tarn has long since crept into the walls of the Usher mansion. From infiltrating the bodies of the hares that inhabit the nearby countryside, it has progressed to invading Madeline Usher. As a single super-organism with a hive mind, the fungus becomes more than sentient -- borderline sapient. It not only spreads through Madeline's body -- ultimately keeping her quasi-alive after she has technically died -- but takes root in her brain to learn from her. As the author's afterword notes, imagine how much the human characters could have learned from the parasite (and vice versa) if only they could have explained to it why most people dislike seeing dead things walk around.

The fungus in the walls of the gloomy mansion in Silvia Moreno-Garcia's MEXICAN GOTHIC doesn't kill its human hosts. Rather, its symbiotic infestation confers healing and potential immortality. The protagonist, though, in trying to rescue a relative from her terrible marriage to a member of the family, discovers the less than desirable side of this seductive trap.

Fungal possession in horror fiction is based on a real phenomenon, the notorious "zombie ant" parasitism.

Zombie Ants

In tropical forests, a fungus invades the bodies of hapless carpenter ants and takes over their brains. It compels the ant to perform the unnatural behavior of climbing to a height and hooking itself to a leaf, where it soon dies. The fruiting body of the mature parasite bursts out of the insect's corpse and broadcasts spores.

Unlike traditional demon possession, this kind of "invasion of the body snatchers" can't be cured by exorcism. The climax of THE GIRL WITH ALL THE GIFTS discovers a way to coexist with it, but at a heavy price. On the other hand, suppose a similar organism existed in true symbiosis with human hosts, bestowing not only healing and prolonged life but enhanced intelligence or some kind of hive-mind telepathy?

Margaret L. Carter

Please explore love among the monsters at Carter's Crypt.