An absurdist exploration of grief, depression, and the attraction of nihilism, nothing is impossible in Tingle’s latest novel. I have to start by saying that I didn’t expect this to be a horror story, after seeing the drastic swerve from actual horror in Straight and Camp Damascus to the dark satire that plays with horror imagery in Bury Your Gays. That swerve left me mildly disappointed with BYG, because it was marketed as horror and I didn’t feel like it delivered on that in the same way his previous stories had. So, I ignored the marketing for this novel, and I am glad I did, because this is not a horror novel, not in any traditional sense of the word. There are some horrific scenes and there is an overarching sense of existential dread, but it is floating safely in dark sci-fi thriller waters without fear of being caught in any of horror’s whirlpools. There is nothing wrong with that, but it was useful for me to have appropriate expectations (or a lack of them) when starting.
I think the premise is genius, and that is no surprise, Tingle has shown again and again that he has a wonderful eye for story and how the out there and the absurd can still be home not just to nested metaphors but also genuine heart. The writing is confident and playful, depicting bloody spectacle with a colorful glee while at the same time having space for character interiority. The plotting is actually quite fast-paced, and that made it fun and easy to read. I do think it left a lot of things at not much more than surface level, though, as we were moving through things so quickly there wasn’t a lot of space for reflection. There was a considerable sense of dynamism between the spectacle set pieces, but I wouldn’t have minded a few quieter moments that didn’t always feel like they were leading me by the nose to the next plot point. This goes hand in hand with my feelings regarding the characters’ interior journeys, which felt both rushed and unfulfilling. I liked the characters, especially the main character but also all the ancillary characters, regardless of how much time we spent with them. They made sense, felt lived-in and real, not just phoned in to fill up the background. I loved where the opening conflict found our main character, cut down from the place of her greatest success and potential by the absurdity of reality to a place marked by abject nihilism, fueled by PTSD and depression. How can she find her way out of this? But the journey she goes on doesn’t feel particularly motivated or motivating, she is kind of forced along for the ride until she makes an abrupt 180-degree turn, or that is how it felt. I like the place that she ended up, that felt natural to the world and the overall experience, but the narrative didn’t feel like it quite earned it, or rather like it happened more abruptly than it might have.
There are a few extravagant set pieces which felt ripped right out of a Final Destination film, with each one playing into the absurdity of the situation more and more, but never feeling like it lost the plot. They were deliciously fun and bloody and really effective throughout. There were a few other surprise bits of horror along the way which I also enjoyed (including a cheeky reference to his novella Straight), but this all felt like isolated little pops of color, never really setting a tone or environment but just adding (albeit fun) decoration to the relatively straightforward thriller. Unfortunately, the detective work elements were kind of the weakest parts, and the entire journey of this story is wrapped in an investigation. The mystery didn’t feel like it ever really had legs, or, more, it felt like everything was a forgone conclusion. The investigation felt like pretense and it wasn’t particularly interesting, there were never any meaningful red herrings or even particularly juicy clues. Even the reveal, while I enjoyed the social commentary Tingle was making with the antagonist and means and motives, just felt secondary to the constant need to move forward. If the story is going to be so aggressively absurdist thriller (as opposed to horror) then the actual thriller parts, the detective work and mystery and clues and legwork and reveals of nefarious plans within plans, the double crosses, and so on, those all need to be executed better, be given more heft, instead of just serving as set dressing.
I like the ideas in the novel, and I think it is a really smart and creative way to tackle some heavy themes, namely the alluring face of nihilism and self-destruction. There are other ideas that feel like they were starting to go somewhere, like the biphobia the main character experiences more than once, but these ideas also feel like they are thought about but never really dug into. I honestly think the story could have had an additional 50 pages to actually go deeper into some of its ideas, to allow more reflection, and to maybe actually set up more proper detective/thriller elements beyond the surface approximations we get. Those would have been pages well-spent that I think would have made this book a lot more satisfying to me. I enjoyed it, the story and ideas and writing are all on display. It has a creativity and a commitment to authenticity that I really admire in genre fiction, especially, not afraid to wear its heart on its sleeve. I just wanted a little more depth, more character interaction and development, and more time to really perseverate in the world Tingle created.