I really wasn't sure about getting this book at first. I wasn't sure if I was the target audience. And you know what, I'm probably not. I'm an unromantic 30 year old British man. Romance to me is tickling somebody until they kick me in the face. I refuse to watch Twilight, and I couldn't even get through more than a few episodes of True Blood (which I really did want to love). All that must surely count to at least a few strikes against me.
So why did I buy it? Thankfully there was no half-naked man on the front cover. Also I like rednecks and I like apocalypses. I love dark, weird, irreverent small-town stuff. I am iffy about supernatural stuff, depending on the presentation. Vampires - a not insignificant part of Halo Bound - can be all over the place. Twilight no, Blade yes. The only romantic vampire film I can think of that I enjoy is Only Lovers Left Alive.
The back cover made it sound fun, though, and so I gave it a go. After all, if handled right, supernatural southern small-town mad drama with vampires and rednecks and sadistic fallen angels could really make for a good story.
So was it handled right?
Hell yes it was.
It succeeds on so many fronts that I'm gonna have difficulty organising my thoughts on this (I'm also years out of practice writing an Amazon review). I guess, most of all, Eden can WRITE. And I don't mean that it's poetic, or flamboyant, or uniquely bizarre, or there's any breathtaking sentences that stop you in your tracks. I mean she is beyond all that frippery; the writing is simply too confident for that. It's the sort of writing you get when a writer is self-assured, when the craft has been practised and understood and lived-in and the author is long past any overeager need to prove themselves to the reader.
It's lean, fervent, charismatic, quick. There's little to no fluff, or non-essential asides. No window dressing. It's about two things: plot and character. The world-building is not thrust on us, but develops entirely by way of these previous two focal points. We are fed it on a drip, an unconscious process.
If you force yourself to stop and think about it while reading, it's rather fascinating to acknowledge what the casual, straightforward, humanistic style is doing, and how it's doing it. So rare for these kinds of books, there are simply no exposition dumps. No tedious and lengthy backstory spelled out to us. Eden is too good for that, too naturalistic a writer. All the information we need, all the details, come out naturally, in dialogue, or inner thoughts, in snatches of memory.
At the start of the book, we're put slap bang in the middle of... something?... but we don't know what's going on. There's numerous things - little and big - we don't understand, but it's never put to us in a frustrating 'what's going on?' way. The writing is too effective for that, leading us on this gradual-yet-brisk, clear, bright path through the novel and, by extension, the world it exists in. Along the sides of this path, as we pay closer attention, we see things, flora and fauna and all the subtle signs, and we nod and go 'ah!' and 'so that's what that was all about'. This story-and-world-telling dripfeed doesn't just give up halfway through, it's present from beginning to the very end.
In short, while it might not be apparent to the casual reader who rushes through the book, Eden is a true master of the writer's adage: "Show, don't tell." She doesn't tell. She doesn't pander to her audience. She has faith in the reader that it'll make sense. And the writing seems effortless.
Another indication of the writing confidence on display is the idea that the principal character is MUTE. That's right, "Tough" doesn't speak. Think that through. Think how any other writer could have fumbled that, could have made the novel difficult and the character hard to enjoy, the interactions with other characters awkward and repetitive. No, Eden has a firm hold on this. To make that highly unorthodox decision shows a writer adept at what she's doing. Again, just like the casual drip-feed of important plot and character details, and the remarkable (yet completely effective and illustrative) fact there is a different POV each chapter, it reads as though the process was not ungainly and confused and a chore to write, but effortless.
There is one scene mid-book, involving a vampire and a bathroom, that is told so well that you don't really consider how little detail is fleshing out the scene - your imagination is doing most of the work, Eden's words only propelling you along. As in much of the rest of the book, you don't need to be told what someone is looking like at that moment, you don't need to have it spelled out how angry or sad they are or how much they are hurting - it's delivered contextually. Eden strips scenes like this to the bare bones, encouraging us to visualise it, and while that could be bad in a less accomplished author's hands, in this book the approach achieves a kind of cinematic excellence, and keeps the book whipping along through the plot and the tortured lives of its characters.
Okay, enough about the style. How's the book in other terms? Well, the characters are good - although one thinks they are going to really come into their own in the next book, and the plot - well, I want to tell you not to think you have this book sussed out. The book ISN'T going to be what you expect. It won't go how you think it will, and you won't predict it's end. Hell, you won't predict its middle.
The back cover blurb makes it sound like it's going to be a somewhat jaunty, irreverent, supernatural black comedy. That's there, in parts, but it's so much more than that. It can be funny, but it's also deeply, deeply tragic. And dark. Oh boy does it get dark. The brisk, almost breezy tone it takes earlier on in the book makes you think this is going to all resolve itself nicely and happily, just a temporary walk in the dark for our characters, but the tone belies the content.
This is an ugly world, and these characters lead tragic, fatalistic, sad, struggling lives. You want them to succeed (well, two or three of the main ones at least - the others I'm not so sure of!), because all they want is to survive, and if not be happy (a concept that seems alien to them), then at least live without further suffering. The characters are charming, charismatic, funny, broken, miserable, smart and stupid equally, angry, desperate, lovable, and so very flawed. You get outright mean, screwed-up characters who are on the side of "good", and smiling, encouraging, passionate, commanding, "loving", gorgeous characters who are the antagonists.
Eden's unique take on urban fantasy is another big draw to this book. This absolutely isn't Twilight - but it's not Blade or Dracula or Underworld, either. It steps aside to let all those tired supernatural cliches pass by, and Eden tells the myths - not myths, but very real - how she wants to tell them. This is a world that despite the vampires and the (nicely understated and underplayed) magic and other strange things, feels grounded and real. This is a world as mundane as it is fierce, as functional as it is unfair and unjust; this is a world both sexual and ugly - and sometimes both at once. A world where faery dust is bought and sold like cocaine, where fallen angels are as much the desperate-and-tormenting-stuff-of-erotic-fantasies as succubi/incubi, where the way vampires heal themselves is a process as horribly painful as it is grotesque, where the human residents are required to become subservient to the supernatural creatures so the latter don't prey on tourists, and if they escape they get hunted down by the zombie "Tracker." As bizarre as it all is, it feels like how it would actually come to pass, if all this stuff appeared in our world. Things WOULD get corrupted, and dirty. Humans and monsters both WOULD get exploited. There WOULD be a war... And those "terrorists" who refused to give up the war, even after it ended...
What else to mention? There's a little bit of Christian faith in this book, and Tough is clearly a firm believer; now often this would put me off, but here it is no different than Constantine being a Christian. It works in the context. In fact, there's a late scene of a miraculous sort that reminds me a lot of a late scene in the Constantine movie (yes I know it's not like the comics!). There's nothing in this book to proselytize or anything close - in fact there's as much that seems screwed up about that side of things, character-wise, in the book as there is the reverse.
As for the romance I was dreading, it's there, but it's fine and doesn't detract from the plot, but necessarily intertwines with and propels it. I'd say I'm still probably not quite the audience in that regard but - well, if you want romance from a book like this, supernatural or otherwise, I'd say you're in luck, and you will certainly root for it, and if romance is putting you off reading it, I'd say you're also in luck, and damn right you should still read it. Again, this is nothing like Twilight, the romance isn't sparkly or "oh, he's just so misunderstood", it's not fanciful, vampires and other creatures are not presented in the usual simpering idealised heartthrob way, the principal female character isn't a blank slate... Basically it's the youthful romantic-meets-decidedly-unromantic-drama that inevitably comes into play in any (damaged) real-life situation. Except, y'know, with vampires and dark angels.
Oh, and as for the redneck angle, which I know will be a real on/off switch for a lot of people looking at getting this book... I'm not sure how to put this, except that if you like that idea - a countryfried guy being both the general lead (though not the only lead) and the object of affection, then you'll love it, but also if the term "redneck" is putting you off, don't let it, because it doesn't really read that way either. The blurb on the back - "Binge drinking redneck brother" made me think of a lout with beer dribbling down his stained wifebeater, crunching cans and burping in werewolves' faces. But Tough - as he's called - is not like that at all, so it's a kinda misleading description (even if technically correct). Tough is not only good-looking, young, charming (in a mute way - I wonder if Eden has ever watched the 2011 movie Drive?) and, *ahem*, virile, but he's also as sweet and well-meaning and plain soft-hearted as he is prone to aggression, depression, and dumb, spontaneous decisions. He's both selfish and unselfish, mannered and unmannered, chivalrous and a slight pushover at times; he's damaged, he's brash and stubborn, he's a force in all kinds of directions, and he just wants to do good at whatever cost. Unlike some other protagonists in similar fiction I could name, you never get the impression he's anything but the good-guy desperately trying to keep doing good.
It's just a shame the rest of the world is so determined to send him to Hell.
P.S. Last thing - I've got a real eye for mistakes in books, indie and major publishers both, and almost always find them in every book. I was pleased to not find a single one. This book is perfectly edited and it's not often I can say that. I also bought the paperback, as I don't like e-books, and can tell anyone looking to get the paperback that that too, unlike many books around, is of a good quality that you will be pleased to have on your bookshelf.