Thursday, November 30, 2017
Wednesday, November 29, 2017
Michael McDowell Fangoria Interview, 1984
Friday, November 17, 2017
Unholy Mourning by David Lippincott (1982): Ain't It Time We Say Goodbye
Lippincott (1924 - 1984)
Corgi Books UK, 1981
This courtship is nonsensical and abusive. Not even borderline abusive. Of course I'm looking at this 1982 novel through today's lenses, but that only means that victim/abuser relationships have never changed. Her relationship with Jorbie is practically a checklist of abuse: when he goes into one of his brooding moods, gets caught in a pathetic lie, or even brandishes a chair at Angie, she always tries to figure out what she said or did to set him off. He even gives her a black eye! It happens over and over, a tiresome refrain. Twice more a bewildered and hurt Angie tried to apologize for doing something she wasn't even sure she had done.
Repeatedly Lippincott makes awkward authorial observations out of nowhere that Angie would have been better off if she'd just gotten away from Jorbie as fast as possible, but Angie is so put-upon she believes it's all her fault and promises to do better "next time." At one part early in their affair, Jorbie shows Angie his crematorium and other work areas, and he's left out dead bodies of people she knows for her to see, "Oops, I forgot you knew her!" and makes horrible dumb jokes—posing a dead Jewish man so he's making a Nazi salute—while she mildly rebukes him. Mildly. Angie, DTMFA!
Corgi Books UK, 1983
Lippincott makes no attempt to evoke sympathy for any character. Angie is a dishrag/doormat, while Jorbie is the worst kind of arrogant person even discounting his penchant for burying people alive. He verbally abuses his assistant, Pasteur (a pathetic lumbering giant on loan from horror cheapie central casting). The police chief, Hardy Remarque, is okay I guess, but standard cop stuff in stories like this, two steps behind what's really going on (personally I'm rarely into cops in my horror fiction). Some religious characters, nuns and priests, yawn, to help people through their grief after Jorbie's through with his victims. Jorbie's crippled father Caleb is interesting, sad, hiding family secrets, that kind of guy. The only truly likable character, Edith Pardee, a sweet thoughtful older woman, is around only to tell the dysfunctional lovebirds how they truly belong together and the whole town—it's always "the whole town" in these books—thinks the two belong together. It's utterly depressing.
Turns out, Jorbie is going after people who were at the lake the day his brother drowned, they or their now-grown children, injecting them with curare, which he'd stolen from his old school lab, with a tiny hypodermic needle he has specially made hidden in a ring on his finger. It knocks out people's nervous systems, so they can't move or feel, like living death—suspended animation. Yep. The person gets ill, then "dies," basically, and Jorbie pretends to embalm them but he doesn't: he puts them in a coffin and they're buried that way. Then they wake up, six feet under. Shivery indeed... but Lippincott's handling of this gruesome endeavor pretty much saps the scenario of real horror. In the hands of a committed writer, the experience of waking up in a buried coffin is about as ripe as it gets for full-blown fear and madness. The stepback cover artist for the UK edition, Terry Oakes, got it right:
I grinded through pages of blocky conversations, banal insights, psycho first-person ramblings, turgid plot mechanisms, and general unpleasantness that offered not a whisper of the weird or eerie. There's an autopsy scene on one of those poor folks, that kinda works, I'll give the author that, but his central idea of revenge and the manner in which Jorbie goes about it—which anyone should be able to guess, as there is nothing supernatural going on in the novel—is unbelievable, even for a horror novel.
Dell Books, 1984
The climax is rendered with professional precision, sure, and its horribleness is notable, but it is all cliche and tired trope and predictable jump scare, with a denouement you know is coming. "This is horror, right? Is this how you do it? It is, right? Boo, argh, aaah!" I wish there'd be a scene of the exhumation of Jorbie's helpless victims: god, I can scarcely imagine! Nope, this is not how it's done. At all. Dedicated reader of horror do yourself a favor: buy a copy of the book for its cover, maybe, but be sure to avoid actually reading it.
Am I finished with this review? Is this it? Okay, good, I can't wait to get back to the actual good horror novel I'm reading now...
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