Well, this was an unexpected treat. Long on my to-read list after the author's 1974 eco-horror
Gwen, in Green become a personal favorite,
Hugh Zachary's umpteenth novel
The Revenant (Onyx, Aug 1988) is a respectable addition to the haunted house pantheon. The esteemed illustrator
Richard Newton provides the stunning skull cover art, which
perfectly illustrates the terrors within (while he is not credited on the copyright page, you can spy part of his signature just under "Zachary" on the dead soldier's collar). A top-tier paperback cover, thanks to its fine detail and delicate depiction of teeth and bone and hair.
Only his hate and desire for vengeance were strong...Zachary has written a charming haunted-house tale, readable and engaging, that has more in common with PG-rated horror than adult fare like
Hell House (1971) or
The House Next Door (1978). I'd say the tone is more akin to something to Eighties movies like
Poltergeist or
House: there are spooky/scary scenes to be sure, but tempered by Zachary's good-natured style. And unlike the aforementioned
Gwen, in Green, which was rife with sexual exploit,
The Revenant is about as spicy as a vintage television commercial, coyly "fading to black" whenever the adults close the bedroom door.
Jean got into the shower with Vance and washed his back—among other things—and for about thirty minutes forgot about ghosts...Our protags are the Whitneys: husband Vance and wife Jean, and their two very young daughters, Ridey and Min. The girls are slightly precocious for their ages, but Zachary keeps them from becoming an annoyance to readers—like myself—who find children in horror fiction poorly depicted, by verisimilitude. The girls' dialogue has the ring of truth to it, perhaps from Zachary actually listening to his own grandchildren, who are mentioned in the book's dedication. Younger Ridey has something akin to a psychic pipeline to the supernatural shenanigans going on, saying things like
"He doesn't like it" or
"He broked it" when the adults are discussing amongst themselves what in the world could be causing their unexplained problems. But Ridey has always been a little "off," born as she was with a rare, fortunately treatable, brain condition.
The center section of the infant's brain had been a vast, frightening void. There's more, though, but I don't need to go into it all. Gothic
standards like hidden rooms, torture chambers, secret journals, evil
secrets, all now exposed to the rational airs of the late 20th century.
It got a bit
Jebus-y
for my taste at the end, with the psychic family friend arriving to
provide
spiritual assist as an amateur exorcist, well-worn Bible in her hand.
Even though he's dealing in basic tropes of pulp haunted house horror,
Zachary's prose, honed by decades of writing fiction of all stripes, is
fresh, familiar, convincing. He keeps things lively right to the end.
And while you'll run into a dated notion more than once—I suppose the
marital politics aren't exactly progressive, he's like your granddad,
isn't he?—he never devolves into crudity or idiocy, like so many other
paperback horror originals.
I've read worse novels by more famous authors. With its tension well-mounted between modern people who just want to live in the now and seemingly still-fresh Civil War wounds from crimes committed long ago,
The Revenant might not quite be a Southern Gothic, but it's not far off. Hugh Zachary brings a smooth, professional vibe to all the proceedings, even and especially when you notice the nicely time-worn notes of unease begin to be plucked.
"You are not going to do this to us," she said softly, speaking to the night, to the sudden chill, to the feeling of uneasiness that had come over her so suddenly. This was her house, her home...
