I’m a life-long Christopher Pike fan. He’s in my top three favorite authors, and it can’t just be a nostalgia thing because I really enjoy his new stuff too. His writing isn’t always terrific, but he’s a wonderful storyteller, and I think that’s what draws me most about his work. I never know how to describe him when I’m trying to explain. Science fiction? Horror? Spiritual? It’s usually some combination. I honestly wouldn’t know who to compare him to. (Do not say R.L. Stine. We will fight. Completely different tone/agenda.) There isn’t a lot of 90’s Pike that I haven’t read (and re-read, probably), but this is one of the few that never made it into my garage sale or library hauls.
Holy. Shit. Sometimes I forget how gruesome Pike can be. I should have realized when I was four chapters in and going, “Wow, this is really fucked up,” what trajectory this novel was on, but I’m fantastic at deluding myself. It’s reminiscent of Scavenger Hunt in the small town, desert setting, with teenagers who just can’t wait to get out. Cass is planning to move to L.A. as soon as possible with her younger sister, Mary, and her boyfriend, Fred. Just days before they leave, Cass and her friends go exploring in an abandoned mine, where Tim is infected with a virus that is more like an otherworldly consciousness that spreads to the rest of the town. The first chapter alone is more claustrophobic than the entirety of A Journey to the Center of the Earth, and it sets the tone for the graphic violence of the rest of the novel.
The Hollow Skull definitely doesn’t read like Pike at his best. The narrative is stilted and choppy, the dialogue is wooden even before the Pod People take over, and he doesn’t waste a lot of time on character development or relationships. Cass is supposed to be a strong female lead, and her relationship with Mary is the most important and loving in her life, but there are few moments when I felt either of those. The villain, Sio, is basically a scorned lover who decides to take over the universe–bit of an overreaction, but power corrupts and all. The novel is also on a level with Whisper of Death and Die Softly for nihilism. Like the characters, you realize much too late that there is absolutely nothing they could have done to escape their circumstances; they were damned from the beginning. While Pike is often violent, this is an unusually grim outlook, and I struggled to take much from the novel other than a vague sort of well, that sucks.
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