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What follows is a fractured narrative that jumps backwards
and forwards in time – a technique that mirrors the broken nature of Frank’s
family; sister Angie, loving mother Pat and father George whose first scene in
the book presents him as a short tempered bully, characteristics that develop
along with the story until he becomes the catalyst for the life changing events
which follow.
George is a catalyst but so too are events at Albion Fay
itself, the house which is to be the family’s holiday home for a week. The
caves in the woods which surround the house allow the introduction of a
supernatural element to the story but this is done in a subtle way, the first
person perspective – which brings with it all the baggage of unreliability –
means that just the right amount of ambiguity is brought to the narrative, these
supernatural elements enhancing rather than overwhelming it.
As Adam Nevill’s thorough and detailed introduction to the
book indicates, this is a story about loss and perhaps the greatest loss of all
here is of the childhood innocence of Frank and Angie. The story goes to some
very dark places but the writing is so assured and confident that the tragic
events which unfold really do shock and aren’t gratuitous. Albion Fay is a Greek tragedy – although a very British one. (Yes,
the name of the house – and book – is a clever one). It’s a brilliant example
of quiet, understated writing that delivers its horrors efficiently and extremely
effectively. There are similarities here – in terms of general themes – to
Mark’s previous novella It Sustains, but
both are prime examples of intelligent, literary horror and evidence of an
author pretty much at the top of his game.
I thoroughly recommend Albion
Fay and you can buy it here.
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