What do you think?
Rate this book
Wyrd and Other Derelictions
Derelictions are horror stories told in ways you may not have encountered before. Something is missing from the silent places and worlds inside these stories. Something has been removed, taken flight, or been destroyed. Us. Derelictions are weird tales that tell of aftermaths and of new and liminal places. Each location has witnessed catastrophe, infernal visitations, or unearthly transformations. But across these landscapes of murder, genocide and invasion, crucial evidence remains. And it is the task of the reader to sift through ruin and ponder the residual enigma, to behold and wonder at the full horror that was visited upon mankind. A dead ship carries a terrible cargo across a black ocean. Below deck, signs of slaughter and devotion await to tell a ghastly tale. On a barren and hostile shore a great ritual has been enacted successfully. The act of a god may have taken place. But what kind of deity did this? An eerily silent campsite. No sign of life. Look closer and observe the grisly artefacts of annihilation. In the very foundations of this dreadful house, was something supernormal called upon to abolish life so mercilessly? Wyrd contains seven derelictions, original horror stories from the author of 'Hasty for the Dark' and 'Some Will Not Sleep' (winner of The British Fantasy Award for Best Collection). Praise for Adam Nevill's short "Beautifully crafted, original and complete works." 'This is Horror' on 'Some Will Not Sleep'. "His stories weave their way inside of your head and plant seeds of doubt and terror. He is a master of creating oppressive, creepy atmospheres and of taking your imagination to places you would rather he didn’t." 'The Grim Reader' on 'Hasty for the Dark'. "In 'Some Will Not Sleep' nothing is sacred, nothing is safe, and goodness me, if you like horror fiction you’re going to absolutely love every damn minute." Pop Mythology.
106 pages, Kindle Edition
First published October 26, 2020
398 people are currently reading
2921 people want to read
About the author
Adam L.G. Nevill
76 books5,536 followersADAM L. G. NEVILL was born in Birmingham, England, in 1969 and grew up in England and New Zealand. He is an author of horror fiction. Of his novels, The Ritual, Last Days, No One Gets Out Alive and The Reddening were all winners of The August Derleth Award for Best Horror Novel. He has also published three collections of short stories, with Some Will Not Sleep winning the British Fantasy Award for Best Collection, 2017.
Imaginarium adapted The Ritual and No One Gets Out Alive into feature films and more of his work is currently in development for the screen.
The author lives in Devon, England.
Imaginarium adapted The Ritual and No One Gets Out Alive into feature films and more of his work is currently in development for the screen.
The author lives in Devon, England.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 311 reviews
October 17, 2025
Top shelf shots of horror, no chaser. Also, no characters, save for what might be some omnipresent—but if omniscient, very withholding—surveyor of post-catastrophic ruination.
As near to panoramic paintings depicting hellscapes on earth with Boschian levels of minute detail as I’ve experienced in words, the ethereal and loosely defined ‘narrator’ granting zoomed-in glimpses of what we should no more be privy witnesses to than pre-Cambrian conditions of Earth.
Philosophically, this collection is an unnerving reminder of mankind’s cosmic insignificance and how many eclipsing threats may still lie beyond our capacity for perception. Whatever might supplant our tenure on this planet will not pause to preserve our legacy, mourning our demise as much as the asteroidal sculptor of the Chicxulub crater mourned the dinosaurs. The history of Earth is replete with mass extinctions and millennia of almost inert dereliction. One can imagine these stories as documentaries of a future species, dispassionately recounting our eradication.
Despite abounding detail, much is implicitly asked of the reader’s attention and imagination. Each excursion warrants engagement, contemplation, assessment and reassessment. Answers are not gift-wrapped, or even guaranteed. The perhaps ultimately unknowable origins of these phenomena sets the reason-seeking synapses ablaze with dread. Wait for Godot. “Wait and wait until no one comes.”
What if? Why? What now? What next? We are not entitled to the answer key, but by the gifted curse or cursed gift of consciousness, we are entitled—even petitioned—to ask and consider. For those of us who revel in the agonizingly inconclusive, encountering the innominate, grasping at imperceptible straws, this experiment is an Elder Godsend.
As near to panoramic paintings depicting hellscapes on earth with Boschian levels of minute detail as I’ve experienced in words, the ethereal and loosely defined ‘narrator’ granting zoomed-in glimpses of what we should no more be privy witnesses to than pre-Cambrian conditions of Earth.
Philosophically, this collection is an unnerving reminder of mankind’s cosmic insignificance and how many eclipsing threats may still lie beyond our capacity for perception. Whatever might supplant our tenure on this planet will not pause to preserve our legacy, mourning our demise as much as the asteroidal sculptor of the Chicxulub crater mourned the dinosaurs. The history of Earth is replete with mass extinctions and millennia of almost inert dereliction. One can imagine these stories as documentaries of a future species, dispassionately recounting our eradication.
Despite abounding detail, much is implicitly asked of the reader’s attention and imagination. Each excursion warrants engagement, contemplation, assessment and reassessment. Answers are not gift-wrapped, or even guaranteed. The perhaps ultimately unknowable origins of these phenomena sets the reason-seeking synapses ablaze with dread. Wait for Godot. “Wait and wait until no one comes.”
What if? Why? What now? What next? We are not entitled to the answer key, but by the gifted curse or cursed gift of consciousness, we are entitled—even petitioned—to ask and consider. For those of us who revel in the agonizingly inconclusive, encountering the innominate, grasping at imperceptible straws, this experiment is an Elder Godsend.
February 17, 2021
Wyrd (And Other Derelictions) is a unique set of short creepy tales.
The setting of each story is described very richly, it helps you to picture each one vividly in your mind. Nevill’s writing abilities are on full, glorious display. He makes you take your time immersing yourself deeply into each story’s world. They all take place after an awful event, and the reader is left to read about, to study, the surroundings. There is one notable thing missing during each story, and that is living, breathing humans.
The experience is like looking through the eyes of the narrator and feeling/experiencing what they would feel when looking around these often dismal environments. Horrific imagery is described to the reader at every turn.
The opening story, Hippocampus, really gives you an amazing taster of the writing style and makes you desperate for more.
I have enjoyed reading back over these stories again, but more slowly this time, to appreciate the writing once more. I actually rarely do this after finishing a book unless I’m going back to note down specific quotes.
Good horror to me always gives senses of foreboding and dread. These tales absolutely hit the nail on the head for me. 💀
The setting of each story is described very richly, it helps you to picture each one vividly in your mind. Nevill’s writing abilities are on full, glorious display. He makes you take your time immersing yourself deeply into each story’s world. They all take place after an awful event, and the reader is left to read about, to study, the surroundings. There is one notable thing missing during each story, and that is living, breathing humans.
The experience is like looking through the eyes of the narrator and feeling/experiencing what they would feel when looking around these often dismal environments. Horrific imagery is described to the reader at every turn.
The opening story, Hippocampus, really gives you an amazing taster of the writing style and makes you desperate for more.
I have enjoyed reading back over these stories again, but more slowly this time, to appreciate the writing once more. I actually rarely do this after finishing a book unless I’m going back to note down specific quotes.
Good horror to me always gives senses of foreboding and dread. These tales absolutely hit the nail on the head for me. 💀
January 12, 2022
One of the great feats of horror done well is to stretch the minds of characters and the imaginations of readers into a consideration of our cosmic insignificance within vast swathes of time and space that we cannot even begin to grasp beyond formulae.
I don’t know what the physical book looks like, but the cover of the ebook is simply gorgeous, if a bit icky. This is another title from Adam Nevill’s own Ritual Limited imprint (in the Acknowledgements, he explains the difference between ‘self-publishing’ and ‘indie publishing’.)
I don’t read nearly enough horror fiction, but Nevill has been a reliable go-to author for me ever since ‘The Ritual’ (2011), which won the 2012 August Derleth Award for Best Horror Novel, the first of three of his books to do so. ‘The Ritual’ was subsequently adapted into a fairly respectable Netflix movie in 2017 (I have yet to see the adaptation of ‘No One Gets Out Alive’.)
Hopefully this means Nevill’s books continue to attract reader interest. Even though he largely flies under the radar, he is one of the most consistently brilliant horror writers at work today (and he continues to uphold a long and proud tradition of British horror excellence in particular.)
‘Wyrd and Other Derelictions’ is a curious collection indeed. Nevill explains how the seed for these stories was planted with the success of ‘Hippocampus’, featured in Ellen Datlow’s ‘Year’s Best Horror’ and Ramsey Campbell’s ‘Folio Book of Horror Stories’. He was curious to see how far he could push the aesthetic in that story, which had no characters or dialogue.
I suggest simply diving into this collection and letting these stories seep under your skin. Nevill provides a thoughtful commentary at the end called ‘Story Notes: About These Derelictions’: “Discovering what has been left behind after an act of sheer horror is a profound experience, an idea I have always found arresting and dreadful.” Of course, “left behind” itself refers to:
Spaces. Places. Dereliction. Abandonment. Where no one is yet present, sifting, commenting, assessing, picking things up and putting them down. Where no one is yet looking, nor looking at you looking at them. This is the essence of these tales and my curiosity about empty spaces that are littered with evidence of the dreadful.
Can you remove the narrator, characters or any sense of point of view entirely from a story, focusing exclusively on the foregrounding? Nevill himself comments that this is the one failing of these stories: “Though I tried to keep narration to a murmur, an anonymous narrator with an authorial voice was still required to lead the reader through the place of dereliction.”
This brief collection only contains seven stories, all of which are supremely creepy, unsettling and dread-inducing in a manner that is difficult for the reader to pinpoint. Nevill has always been a superb writer of place, with ‘The Reddening’ (2019) being a superb example. ‘Wyrd’ showcases his technical capability as a master wordsmith, as well as his dark alchemy in terms of mood and vision.
A nice touch is Nevill’s acknowledgement of “the many Bookstagrammers and readers who have left reviews on Goodreads and Amazon”: ”I salute you all with both horns.
I don’t know what the physical book looks like, but the cover of the ebook is simply gorgeous, if a bit icky. This is another title from Adam Nevill’s own Ritual Limited imprint (in the Acknowledgements, he explains the difference between ‘self-publishing’ and ‘indie publishing’.)
I don’t read nearly enough horror fiction, but Nevill has been a reliable go-to author for me ever since ‘The Ritual’ (2011), which won the 2012 August Derleth Award for Best Horror Novel, the first of three of his books to do so. ‘The Ritual’ was subsequently adapted into a fairly respectable Netflix movie in 2017 (I have yet to see the adaptation of ‘No One Gets Out Alive’.)
Hopefully this means Nevill’s books continue to attract reader interest. Even though he largely flies under the radar, he is one of the most consistently brilliant horror writers at work today (and he continues to uphold a long and proud tradition of British horror excellence in particular.)
‘Wyrd and Other Derelictions’ is a curious collection indeed. Nevill explains how the seed for these stories was planted with the success of ‘Hippocampus’, featured in Ellen Datlow’s ‘Year’s Best Horror’ and Ramsey Campbell’s ‘Folio Book of Horror Stories’. He was curious to see how far he could push the aesthetic in that story, which had no characters or dialogue.
I suggest simply diving into this collection and letting these stories seep under your skin. Nevill provides a thoughtful commentary at the end called ‘Story Notes: About These Derelictions’: “Discovering what has been left behind after an act of sheer horror is a profound experience, an idea I have always found arresting and dreadful.” Of course, “left behind” itself refers to:
Spaces. Places. Dereliction. Abandonment. Where no one is yet present, sifting, commenting, assessing, picking things up and putting them down. Where no one is yet looking, nor looking at you looking at them. This is the essence of these tales and my curiosity about empty spaces that are littered with evidence of the dreadful.
Can you remove the narrator, characters or any sense of point of view entirely from a story, focusing exclusively on the foregrounding? Nevill himself comments that this is the one failing of these stories: “Though I tried to keep narration to a murmur, an anonymous narrator with an authorial voice was still required to lead the reader through the place of dereliction.”
This brief collection only contains seven stories, all of which are supremely creepy, unsettling and dread-inducing in a manner that is difficult for the reader to pinpoint. Nevill has always been a superb writer of place, with ‘The Reddening’ (2019) being a superb example. ‘Wyrd’ showcases his technical capability as a master wordsmith, as well as his dark alchemy in terms of mood and vision.
A nice touch is Nevill’s acknowledgement of “the many Bookstagrammers and readers who have left reviews on Goodreads and Amazon”: ”I salute you all with both horns.
November 3, 2020
Working on my review!!
April 14, 2025
In his notes on the stories in Wyrd and Other Derelictions, author Adam Nevill writes about his inspiration for this rather experimental collection of six tales:
"Discovering what had been left behind after an act of sheer horror is a profound experience, an idea I've always found arresting and dreadful. The discovery of such an aftermath at a particular site or locale would surely be framed by the sensation of a paralysis of time. Even the earth might appear to stop turning, as a fuller horror is perceived."
Nevill achieves his aim of conjuring the horrific scenarios which have brought irrevocable change, if not downright apocalyptic upheaval, to the landscapes laid out. The first thing a reader should know going into this collection is that there are no characters and there is no dialogue. Most of the stories follow a similar formula: a survey of a place void of life begins innocuously enough, but soon sinister hints of something terribly amiss show through here and there (a dropped laundry basket, a cell phone left behind on the beach and flashing with a message from the police, the excavation of a new pool abandoned). Then, these gentle but uneasy hints spiral into bloody and grisly horror, and you know for certain that you are looking at the aftermath of some type of terrifying reckoning.
“A large refrigerator door, resembling the gate of a bank vault, hangs open to reveal crowded shelves that gleam in ivory light. There is a metal sink the size of a bath tub. Inside it lies a human scalp.”
The only signs of occupation in these tales are half-seen glimpses of unsettling and monstrous shapes - inhuman shadows cavorting on the wall of an empty ship, an odd, child-sized figure disappearing behind an old estate turned elder care home, heavy footsteps and the blurry reflection of a dark and monstrous figure that has come to reclaim looted artifacts. The one exception here can be found in the story "Low Tide" which describes the very Lovecraftian takeover of a seaside resort town. And although you don’t see exactly what has happened in these tales to bring about such devastation, Nevill gives you enough clues to make a fairly good guess. Many include stark implications of people having suffered the consequences of messing about where they shouldn't be. And he implies that there are more horrors to come.
”We are not alone in here. Whatever was just outside has gone upstairs.”
I’ve said it before and I’ll say it every time I review an Adam Nevill collection: he is one of my top three authors of short horror stories. Nevill, M.R. James, and Ramsey Cambpell just hit that horror sweet spot for me. Namely, less is more, tell, don’t show, relentless dread through the creation of an oppressive atmosphere, shadowy, liminal and mostly empty landscapes, the unnamed and the unknown.
I know this type of storytelling doesn’t work for everyone. If you need people, dialogue and plot-heavy narratives, if open endings and the unexplained irk you, if you dislike long, descriptive passages and flowery language, this is not the collection for you. Some of the prose in these stories was a little overwrought, even for me. I had the added benefit, however, of listening to this on audiobook, and the narration by Dennis Kleinman was perfectly suited to this collection.
Side note: At least one of these stories “Hippocampus” has appeared in other Nevill collections. I came across it previously in Hasty for the Dark. I’m not sure if any of the others are reprints.
"Discovering what had been left behind after an act of sheer horror is a profound experience, an idea I've always found arresting and dreadful. The discovery of such an aftermath at a particular site or locale would surely be framed by the sensation of a paralysis of time. Even the earth might appear to stop turning, as a fuller horror is perceived."
Nevill achieves his aim of conjuring the horrific scenarios which have brought irrevocable change, if not downright apocalyptic upheaval, to the landscapes laid out. The first thing a reader should know going into this collection is that there are no characters and there is no dialogue. Most of the stories follow a similar formula: a survey of a place void of life begins innocuously enough, but soon sinister hints of something terribly amiss show through here and there (a dropped laundry basket, a cell phone left behind on the beach and flashing with a message from the police, the excavation of a new pool abandoned). Then, these gentle but uneasy hints spiral into bloody and grisly horror, and you know for certain that you are looking at the aftermath of some type of terrifying reckoning.
“A large refrigerator door, resembling the gate of a bank vault, hangs open to reveal crowded shelves that gleam in ivory light. There is a metal sink the size of a bath tub. Inside it lies a human scalp.”
The only signs of occupation in these tales are half-seen glimpses of unsettling and monstrous shapes - inhuman shadows cavorting on the wall of an empty ship, an odd, child-sized figure disappearing behind an old estate turned elder care home, heavy footsteps and the blurry reflection of a dark and monstrous figure that has come to reclaim looted artifacts. The one exception here can be found in the story "Low Tide" which describes the very Lovecraftian takeover of a seaside resort town. And although you don’t see exactly what has happened in these tales to bring about such devastation, Nevill gives you enough clues to make a fairly good guess. Many include stark implications of people having suffered the consequences of messing about where they shouldn't be. And he implies that there are more horrors to come.
”We are not alone in here. Whatever was just outside has gone upstairs.”
I’ve said it before and I’ll say it every time I review an Adam Nevill collection: he is one of my top three authors of short horror stories. Nevill, M.R. James, and Ramsey Cambpell just hit that horror sweet spot for me. Namely, less is more, tell, don’t show, relentless dread through the creation of an oppressive atmosphere, shadowy, liminal and mostly empty landscapes, the unnamed and the unknown.
I know this type of storytelling doesn’t work for everyone. If you need people, dialogue and plot-heavy narratives, if open endings and the unexplained irk you, if you dislike long, descriptive passages and flowery language, this is not the collection for you. Some of the prose in these stories was a little overwrought, even for me. I had the added benefit, however, of listening to this on audiobook, and the narration by Dennis Kleinman was perfectly suited to this collection.
Side note: At least one of these stories “Hippocampus” has appeared in other Nevill collections. I came across it previously in Hasty for the Dark. I’m not sure if any of the others are reprints.
November 17, 2025
Lush, dense descriptions create space for astounding narrative free of characters. What a unique and engaging collection! This is certainly an experimental collection, and it immediately felt cinematic (something Nevill acknowledges in his afterword), but also deeply imaginative and unsettling. There are stories crafted in this collection, not just static portraits, but they are anonymous and uncertain, pregnant with meaning but a script so foreign the mind squints to recognize it as language. The writing is immensely descriptive, giving tactile life to these scenes now inhabited only by memories and corpses. The stories are short, and the collection brief, containing only seven stories, but I think that is a smart move. This type of story telling is not going to be everyone’s cup of tea, and even as someone who was immediately enthralled by it I am confident that if the stories lingered too much longer or if the collection was double its length I would have not been as invigorated by the end as I was. Or, at the least, I would have to put the collection down before returning to it, to get lost in its treacly byways with fresh attention. As it is, though, I had a remarkable time with this collection. It is haunting and expansive, and with purple language that may overwhelm in other circumstances but here feels inviting, though with echoes of warning reverberating across its depths.
(Rounded from 4.5)
(Rounded from 4.5)
November 17, 2020
WYRD AND OTHER DERELICTIONS is unique, experimental, and majorly creepy. Seven stories are written in an amazing and strange way. Adam Nevill is an exceptional writer and this collection just proves it even more.
In every story the reader is plopped into the aftermath of a terrible event. It’s like looking through the eyes of a stranger for a short while. You are not privy to what caused the event, you just study the surroundings. It’s terrifying. You get the eerie sense that something is missing, ruined, or destroyed. The atmospheric language creates crystal clear imagery and stories I will never forget. Adam’s writing style is, I guess one might say, wordy, but I loved it. Words are my thing, but you have to know how to use them. And Adam is a truly gifted wordsmith.
My top stories are Hippocampus, Wyrd, and Hold the World in my Arms for Three Days. This is a very slim book, but do not let the size fool you as this is not a fast read. Adam’s prose is lyrical, beautiful, exquisitely disturbing, and intelligent. I took my time with this book and it helped me enjoy it that much more. There are no characters or a specific plot, but Adam somehow pulls it off. My advice is to start with the afterward because it gives context to what Adam’s intention is with the collection. It’s truly genius, bizarre, unsettling, speculative horror and I ate it up!
Thank you so much to the author for this gorgeous special edition. Special thanks to the Night Worms for the #NightWormsBookParty - always a pleasure. Xx
What is the strangest book you’ve ever read?!
In every story the reader is plopped into the aftermath of a terrible event. It’s like looking through the eyes of a stranger for a short while. You are not privy to what caused the event, you just study the surroundings. It’s terrifying. You get the eerie sense that something is missing, ruined, or destroyed. The atmospheric language creates crystal clear imagery and stories I will never forget. Adam’s writing style is, I guess one might say, wordy, but I loved it. Words are my thing, but you have to know how to use them. And Adam is a truly gifted wordsmith.
My top stories are Hippocampus, Wyrd, and Hold the World in my Arms for Three Days. This is a very slim book, but do not let the size fool you as this is not a fast read. Adam’s prose is lyrical, beautiful, exquisitely disturbing, and intelligent. I took my time with this book and it helped me enjoy it that much more. There are no characters or a specific plot, but Adam somehow pulls it off. My advice is to start with the afterward because it gives context to what Adam’s intention is with the collection. It’s truly genius, bizarre, unsettling, speculative horror and I ate it up!
Thank you so much to the author for this gorgeous special edition. Special thanks to the Night Worms for the #NightWormsBookParty - always a pleasure. Xx
What is the strangest book you’ve ever read?!
October 13, 2020
** Edited as review is now live on Kendall Reviews! **
Adam Nevill has been an author that’s paddled his way from Devon Bay and onto my Kindle in excess this past year and I’m a better reader for it. His writing is deft and his storytelling is magical and bleak, a recipe for a story to be created just for me.
‘Wyrd and Other Derelictions‘ was already supposed to be in the world. Nevill had planned on launching this at StokerCon at the beginning of the year, but then Covid-19 scuttled those plans. After a vote was held through his newsletter, it was decided to have the collection launch just before Halloween. Having read it now, I wish I would’ve pushed for an earlier launch.
What I liked: ‘Wyrd and Other Derelictions‘ is Nevill writing quick, short blasts of nightmarish descriptions. Each of the stories details a scene that the reader seemingly stumbles upon. There are no characters in here. No antagonist or protagonist. Instead, stories like ‘Hippocampus‘ and ‘Wyrd‘ inform the reader of what’s before them and then we follow the breadcrumbs through the nightmare to see ‘other’ clues.
Completely unsettling.
A few spots absolutely reminded me of descriptive parts in his latest ‘The Reddening‘ but for the most part, each one of these really had its own ebb and flow, its own pulse.
The only way I can really describe ‘Wryd…’, is if you were to be shown a painting of a scene and told to describe exactly what you’re looking at. Such a unique and forward pushing exercise in dark fiction.
What I didn’t like: I devoured this. Make no mistake about it, I loved this. BUT, I can see some people struggling with the lack of any dialogue or characters to root for and invest in. I suggest you give this a go and just let your mind accept the situation. Very similar to reading poetry.
Why you should buy it: Nevill has taken a very calculated risk with ‘Wyrd…’ and I think he smashed it. Really, really well done. This collection felt like an author attempting to push his craft with a smile on his face while working hard to make readers squirm with what they find.
Really, really enjoyed this one.
Now, it’s time to dive into ‘Apartment 16.’
Adam Nevill has been an author that’s paddled his way from Devon Bay and onto my Kindle in excess this past year and I’m a better reader for it. His writing is deft and his storytelling is magical and bleak, a recipe for a story to be created just for me.
‘Wyrd and Other Derelictions‘ was already supposed to be in the world. Nevill had planned on launching this at StokerCon at the beginning of the year, but then Covid-19 scuttled those plans. After a vote was held through his newsletter, it was decided to have the collection launch just before Halloween. Having read it now, I wish I would’ve pushed for an earlier launch.
What I liked: ‘Wyrd and Other Derelictions‘ is Nevill writing quick, short blasts of nightmarish descriptions. Each of the stories details a scene that the reader seemingly stumbles upon. There are no characters in here. No antagonist or protagonist. Instead, stories like ‘Hippocampus‘ and ‘Wyrd‘ inform the reader of what’s before them and then we follow the breadcrumbs through the nightmare to see ‘other’ clues.
Completely unsettling.
A few spots absolutely reminded me of descriptive parts in his latest ‘The Reddening‘ but for the most part, each one of these really had its own ebb and flow, its own pulse.
The only way I can really describe ‘Wryd…’, is if you were to be shown a painting of a scene and told to describe exactly what you’re looking at. Such a unique and forward pushing exercise in dark fiction.
What I didn’t like: I devoured this. Make no mistake about it, I loved this. BUT, I can see some people struggling with the lack of any dialogue or characters to root for and invest in. I suggest you give this a go and just let your mind accept the situation. Very similar to reading poetry.
Why you should buy it: Nevill has taken a very calculated risk with ‘Wyrd…’ and I think he smashed it. Really, really well done. This collection felt like an author attempting to push his craft with a smile on his face while working hard to make readers squirm with what they find.
Really, really enjoyed this one.
Now, it’s time to dive into ‘Apartment 16.’
November 16, 2020
Wyrd and Other Derelictions is a unique collection of stories. However, before I discuss those stories I must again remark in this review on Ritual Limited Publishing and their attention to detail. This slim volume is stunning in every way. Limited to 300 copies, only the best papers and materials are used when making Nevill's limited editions. And those covers! This cover is so striking and beautiful for such a foul looking creature. But Adam also manages to do that with his words. Even the most grotesque is written in a painstaking, and lyrical prose.
These stories are not like anything you have read before. There really are no characters or plot. Put simply, Nevill has devised a story that is more cinema for the mind than narrative. In each story the reader is made the observer of the aftermath of a terrible event. We know almost nothing about what we are being shown, and yet these silent, eerie places practically scream that something evil and wrong occurred there. The reader as observer is meant to bear witness to the silent carnage of these derelict places, and to perhaps surmise what cosmic horror could have wreaked havoc on the people who had the misfortune of being there. Towns are left empty and untidy, while ruined bodies lay scattered among the chaos. As the reader navigates each location, sometimes a ship, or a house, or even an entire town, the strange aftermath creates a tableau of ritual and sacrifice.
All of the stories in this collection are stellar, but the one that I think disturbed me the most is Hold the World in My Arms for Three Days and All Will Be Changed. The reader witnesses something that happens to the bodies that have been left behind in a deserted town, and it's so creepy and wrong, I felt goosebumps. I also loved the setting of the first story Hippocampus. The reader navigates through a deserted freighter, and the tension mounts with each step and discovery.
Wryd and Other Derelictions is short enough to be read in a single sitting, but I don't advise doing that. Each story is so painstakingly told with the most amazing prose and so it should be savored. I took a break after each story so that I could digest what I had just read. And I found myself really taking my time with this book. This is prose that should be read slowly and deliberately. At any rate, pick this one up as soon as you can. It is definitely going to be in my Top 10 Books of 2020.
These stories are not like anything you have read before. There really are no characters or plot. Put simply, Nevill has devised a story that is more cinema for the mind than narrative. In each story the reader is made the observer of the aftermath of a terrible event. We know almost nothing about what we are being shown, and yet these silent, eerie places practically scream that something evil and wrong occurred there. The reader as observer is meant to bear witness to the silent carnage of these derelict places, and to perhaps surmise what cosmic horror could have wreaked havoc on the people who had the misfortune of being there. Towns are left empty and untidy, while ruined bodies lay scattered among the chaos. As the reader navigates each location, sometimes a ship, or a house, or even an entire town, the strange aftermath creates a tableau of ritual and sacrifice.
All of the stories in this collection are stellar, but the one that I think disturbed me the most is Hold the World in My Arms for Three Days and All Will Be Changed. The reader witnesses something that happens to the bodies that have been left behind in a deserted town, and it's so creepy and wrong, I felt goosebumps. I also loved the setting of the first story Hippocampus. The reader navigates through a deserted freighter, and the tension mounts with each step and discovery.
Wryd and Other Derelictions is short enough to be read in a single sitting, but I don't advise doing that. Each story is so painstakingly told with the most amazing prose and so it should be savored. I took a break after each story so that I could digest what I had just read. And I found myself really taking my time with this book. This is prose that should be read slowly and deliberately. At any rate, pick this one up as soon as you can. It is definitely going to be in my Top 10 Books of 2020.
October 9, 2020
This anthology was such a treat!
Wyrd and Other Derelictions is an anthology of 7 creepy tales that are best described as being snapshots or moments in time surrounding supernatural incidents.
The incidents are almost like crime scenes, where the reader is walked through a place that is laden with ominous indications that are, at times, gory and deeply disturbing.
I loved this approach in all of the stories and below is a breakdown of my ratings for each. My absolute favorites were Hippocampus and Enlivened.
Hippocampus: 5 stars. The reader takes a tour through a ship that is in the ocean, slowly approaching the coastline. Where are all the crew members? And what is that casting shadows?
Wyrd: 4 stars. The setting takes place on a strangely deserted coastline. There is evidence of a strange cult sacrifice.
Turning The Tide: 4 stars. An abandoned campsite in a cove. What is left behind is very concerning.
Enlivened: 5 stars. A basement cellar. A house with every occupant dead. Something is loose inside.
Monument: 3 stars. A subterranean chamber... and above ground, pyres of disturbing heights are being erected.
Low Tide: 4 stars. sea creatures have made a new home out of a holiday retreat.
Hold The World In My Arms For 3 Days and All Will Be Changed: 3 stars. The dangers come forth from the ocean of the sky.
I received a copy of this book from the author and am very pleased to say that it was a very fascinating read.
Wyrd and Other Derelictions is an anthology of 7 creepy tales that are best described as being snapshots or moments in time surrounding supernatural incidents.
The incidents are almost like crime scenes, where the reader is walked through a place that is laden with ominous indications that are, at times, gory and deeply disturbing.
I loved this approach in all of the stories and below is a breakdown of my ratings for each. My absolute favorites were Hippocampus and Enlivened.
Hippocampus: 5 stars. The reader takes a tour through a ship that is in the ocean, slowly approaching the coastline. Where are all the crew members? And what is that casting shadows?
Wyrd: 4 stars. The setting takes place on a strangely deserted coastline. There is evidence of a strange cult sacrifice.
Turning The Tide: 4 stars. An abandoned campsite in a cove. What is left behind is very concerning.
Enlivened: 5 stars. A basement cellar. A house with every occupant dead. Something is loose inside.
Monument: 3 stars. A subterranean chamber... and above ground, pyres of disturbing heights are being erected.
Low Tide: 4 stars. sea creatures have made a new home out of a holiday retreat.
Hold The World In My Arms For 3 Days and All Will Be Changed: 3 stars. The dangers come forth from the ocean of the sky.
I received a copy of this book from the author and am very pleased to say that it was a very fascinating read.
April 26, 2023
Wyrd and Other Derelictions is one of the most unique and unconventional takes on the horror genre I've ever seen. While I didn't connect with any of the short stories on a personal or emotional level, I was able to appreciate the departure from all the familiar trappings and conventional plot constructions that are normally associated with the genre.
This book explores the aftermath of horrific scenes that have already happened. Murders, genocides, home invasions, supernatural disasters, paranormal calamities, haunting landscapes completely devoid of life. It's like walking into a crime scene and trying to piece together what happened based on the bloody evidence, clutter and destruction left behind from a tragedy. All of the characters have already died. All of the tragedies have already occurred. All of the eye-witnesses have been disposed of. All that's left behind are scenes of haunting catastrophes.
This book has no characters, dialogue or direct plot. It's all about solving puzzles and figuring out what happened based on dreary descriptions and clues scattered in between the lines. It's all about setting scenes and basking in the blood-soaked darkness of them. It reminds me of trying to solve the story of Dark Souls just by reading obscure item descriptions scattered all over apocalyptic landscapes where civilization has already been destroyed.
While I can't say I felt emotionally invested in any of these stories, I definitely respect the unconventional style of them and the sheer amount of creativity and effort it took to create them.
My rating: 3.3/5
This book explores the aftermath of horrific scenes that have already happened. Murders, genocides, home invasions, supernatural disasters, paranormal calamities, haunting landscapes completely devoid of life. It's like walking into a crime scene and trying to piece together what happened based on the bloody evidence, clutter and destruction left behind from a tragedy. All of the characters have already died. All of the tragedies have already occurred. All of the eye-witnesses have been disposed of. All that's left behind are scenes of haunting catastrophes.
This book has no characters, dialogue or direct plot. It's all about solving puzzles and figuring out what happened based on dreary descriptions and clues scattered in between the lines. It's all about setting scenes and basking in the blood-soaked darkness of them. It reminds me of trying to solve the story of Dark Souls just by reading obscure item descriptions scattered all over apocalyptic landscapes where civilization has already been destroyed.
While I can't say I felt emotionally invested in any of these stories, I definitely respect the unconventional style of them and the sheer amount of creativity and effort it took to create them.
My rating: 3.3/5
November 16, 2020
These stories are like standing in a place where horrible things have happened and yet you can feel the vibrato from the invisible particles that was left behind. Like that constant shoulder tapping where you turn around and nothing is there... all your tiny hairs at attention as you try to keep yourself from falling to pieces. When I read the story notes at the end and read that the author got inspiration from his visit to Poland and the feelings he got from certain places there... well, clearly that resonated greatly in the feelings I had from this read.
I had sworn off short story collections and anthologies a while ago... but when this showed up at my door step, it's like the creature from the cover suctioned itself to me, the suctioning sounding like "READ.. ME"... and so I did. In full transparency, I probably would have set this down after the first couple of pages. It's not an easy read in the fact that it's very lyrical and I almost felt like I was just reading clumps of adjectives over and over again.. but I told myself I could get through at least ONE short story. I was uncertain how I felt after that first one so I continued to the next and the next and the next. And quite frankly, I STILL don't know how I feel about any of it.
Let me try to break it down. What I didn't care for: no dialogue or plot and the very lyrical prose. What I liked very much: the very lyrical prose once I got used to it and the absolute staticky, eerie feeling that will take a moment or three to brush off my reading soul. This isn't going to be a read for everyone, that much is certain. I'm not even quite sure it's the read for me. However, I can't oversee the fact that these stories will stick with me for a very long time and I will question every single little thing that I can't see.. like something is constantly scurrying away from my line of sight. Basically, I'm having a very love/hate relationship with this.
I had sworn off short story collections and anthologies a while ago... but when this showed up at my door step, it's like the creature from the cover suctioned itself to me, the suctioning sounding like "READ.. ME"... and so I did. In full transparency, I probably would have set this down after the first couple of pages. It's not an easy read in the fact that it's very lyrical and I almost felt like I was just reading clumps of adjectives over and over again.. but I told myself I could get through at least ONE short story. I was uncertain how I felt after that first one so I continued to the next and the next and the next. And quite frankly, I STILL don't know how I feel about any of it.
Let me try to break it down. What I didn't care for: no dialogue or plot and the very lyrical prose. What I liked very much: the very lyrical prose once I got used to it and the absolute staticky, eerie feeling that will take a moment or three to brush off my reading soul. This isn't going to be a read for everyone, that much is certain. I'm not even quite sure it's the read for me. However, I can't oversee the fact that these stories will stick with me for a very long time and I will question every single little thing that I can't see.. like something is constantly scurrying away from my line of sight. Basically, I'm having a very love/hate relationship with this.
October 22, 2020
A stark, bold experiment, this collection of short horror stories with no living characters is astonishing. I read a story a night, and really felt the tales needed that; space for each to breathe and be inhabited. Nevill is a stunningly gifted writer, and it's a real pleasure to see him using all his considerable powers to create a new, haunting and melancholic form. I'll be thinking about this one for a long time, both the core conceit and the stories themselves; the landscapes, the environments, and the winter chill the collection as a whole evoked for me. Absolutely superb.
June 12, 2025
the ultimate horror
of human existence
turned into
poetry:
the cosmic insignificance
of man.
of human existence
turned into
poetry:
the cosmic insignificance
of man.
March 29, 2022
This book is beautiful, artistic, wildly imaginative, and unlike anything I've ever read. And...I hated it. The 7 derelictions in this book are moments in time directly after some catastrophe. There are no characters and no plot to be found, instead, there is only the world and the terror that exists in it. There's no conflict or action, reading these selections is very much akin to stumbling upon a crime scene. The reader doesn't know what happened and is never told because there's no one to tell. The only thing present is the reader and the world that Nevill created. I compared it in a chat to watching some horrific landscape screensaver flash on a computer screen.
I have to give this a negative review because it didn't work for me. I felt no connection to the scenes unfolding before me. It may make me unsophisticated or basic but I need conflict, story, plot, and characters to develop a connection to what I'm reading. Otherwise, it is just watching the world pass by, beautiful and horrific but ultimately just window dressing. I wanted to connect to it but I found nothing to sink my teeth into.
That is my take on 𝘞𝘺𝘳𝘥. If you think there's a chance it will work for you, it probably will. Like I said above, it's extremely well done for what it is but it just 𝐫𝐞𝐚𝐥𝐥𝐲 didn't work for me. I haven't tagged the author because this is a negative review but I am very grateful to him for sending me this beautiful hardcover edition. If you do read this, Adam, thank you! I respect what you did here but it wasn't for me.
I have to give this a negative review because it didn't work for me. I felt no connection to the scenes unfolding before me. It may make me unsophisticated or basic but I need conflict, story, plot, and characters to develop a connection to what I'm reading. Otherwise, it is just watching the world pass by, beautiful and horrific but ultimately just window dressing. I wanted to connect to it but I found nothing to sink my teeth into.
That is my take on 𝘞𝘺𝘳𝘥. If you think there's a chance it will work for you, it probably will. Like I said above, it's extremely well done for what it is but it just 𝐫𝐞𝐚𝐥𝐥𝐲 didn't work for me. I haven't tagged the author because this is a negative review but I am very grateful to him for sending me this beautiful hardcover edition. If you do read this, Adam, thank you! I respect what you did here but it wasn't for me.
October 28, 2020
There are some authors whose work I order as soon as I hear something new is coming out. I need no convincing. Adam Nevill is absolutely among that group so I placed my order from his website as soon as I was able. I also make a point not to read anything about the upcoming work so I can enjoy it without prejudice. Given this, I was surprised when this thin volume arrived at my house.
I did know this was a collection of short stories, but I didn't know they were derelictions, or what a dereliction even was at that point. I soon caught on however and even learned a little bit more from Nevill's excellent newsletter. Equal parts repulsive and compelling, they have much in common with crime scene photographs. Something very horrible has clearly happened, and you are snooping around the aftermath comfortable that whatever happened has (likely) concluded.
I was slightly surprised to see it took me exactly a month to read, but that is probably about the right amount of time. There's no sense rushing through stories like these. It's clearly experimental, but it seems like Nevill enjoyed the process and it will be interesting to see how this affects his future work. I know I will be ordering it.
I did know this was a collection of short stories, but I didn't know they were derelictions, or what a dereliction even was at that point. I soon caught on however and even learned a little bit more from Nevill's excellent newsletter. Equal parts repulsive and compelling, they have much in common with crime scene photographs. Something very horrible has clearly happened, and you are snooping around the aftermath comfortable that whatever happened has (likely) concluded.
I was slightly surprised to see it took me exactly a month to read, but that is probably about the right amount of time. There's no sense rushing through stories like these. It's clearly experimental, but it seems like Nevill enjoyed the process and it will be interesting to see how this affects his future work. I know I will be ordering it.
November 16, 2020
Wyrd and Other Derelictions is not your average collection of stories. Something is missing in them: people. There are seven stories in this collection and we are not in any of them. Instead, Adam Nevill uses horrifyingly descriptive imagery to set the tone and tell the story. It's as if we just walked into a murder scene after all the bodies have been taken away, the police tape removed, etc. He finds ways to build dread and suspense without any dialogue or characterizations at all. It's like we are just walking around someone else's mind while THAT person is looking through a video camera at whatever scene is in front of us. My favorite story is the first one, "Hippocampus," and I think that is on par with a lot of other readers. Like the rest of the stories here, this first one is extremely atmospheric and unsettling. I do think I would have enjoyed these stories more with characters and less of the lyrical prose, but that was not the intent of them so I can't think that way. But one thing is for sure: these stories will change the way I interpret and see my surroundings, especially when it's something dark, ominous, or creepy!
March 13, 2021
Adam Neville has written some very creepy books, books you don't dare read with the lights off.
This one is no exception, but what makes it stand out from the rest is the fact there are no people in the stories. It's all about atmosphere. The tales are eerie and, yes, I kept the light on.
This one is no exception, but what makes it stand out from the rest is the fact there are no people in the stories. It's all about atmosphere. The tales are eerie and, yes, I kept the light on.
October 26, 2020
Adam Nevill returns in some style:
dropping the literary equivalent of a doom metal concept album
Following The Reddening, one of the outstanding horror novels of 2019, was never going to be an easy task, so Adam Nevill takes the bull (or should that be a goat?) by the horns and drops the literary equivalent of the dreaded concept album. In the musical world such recordings are controversial beasts, often loved or reviled by fans in equal measure, but invariably gaining a cult following over a long period of time, via constant reappraisal, with fans locking horns over where this particular album ranks in the artist’s back-catalogue. Wyrd and Other Derelictions is such a beast, which will undoubtedly garner similar discussions in the horror world; many fans will love this curiosity, but as the beauty of concept albums is to split the critics, other readers will surely be left cold by its bleak grasp.
Personally, I was a massive fan of Wyrd and Other Derelictions and would suggest that those who will enjoy this collection most are long term fans of the author who are accustomed to his descriptive style and slow pace, rather than the newbie who I would strongly advise to start elsewhere in Nevill’s outstanding back-catalogue. Who might not enjoy it? If you were bored by the eerie descriptions of the claustrophobic and encroaching forest in The Ritual, or skimmed over the decrepit descriptions of peeling wallpaper in 82 Edgehill Road from No One Gets Out Alive then this might not be the collection for you, as Wyrd beautifully amplifies these types of scenes, building long and atmospheric descriptions around precise standalone moments in time, which on other occasions might have been snapshots extracted from novels or have the potential to be reworked into longer pieces.
You might ask why a collection of short stories is being compared to the concept album? This is not a normal collection in that few of the entries have genuine beginnings, middle sections, or traditional endings. They read, almost as if an unnamed narrator is describing, or walking the reader through, a horrible crime scene in which an undisclosed atrocity has occurred at some point in the past. The stories have no characters, dialogue, or conventional plots and as the literary rulebook is being effectively being thrown out the window Adam Nevill must be congratulated for creating something rather unique. A collection entirely based around mood, atmosphere, and dangerous locations is not something you come across very often.
Of course, multi-author anthologies which are thematically linked are dime-a-dozen, and Stephen King occasionally released inter-linked novellas connected by theme, but few authors have the literary skill to release a collection in which all the stories are entirely made up of descriptions and it is the violence of the locations which links them. Detractors could sneer that this is a rather self-indulgent exercise, but I would argue the opposite; this is a very confident writer at the peak of his powers who firmly stamps the short story with his unique brand. Considering the strength of Nevill’s back-catalogue and track record for producing excellent short stories he is one of the very few authors who could pull such a collection off, which he does in some style.
Fans may look for similarities to his existing fiction and as all of the tales are set around rural or coastal locations, with none set in cities at all, The Reddening and The Lost Girl are the two novels which spring to mind most readily. No names or locations are ever revealed and if not for the occasional mobile phone or abandoned car many of the stories could be set anywhere in time. I do not yet know if the term ‘Nevillesque’ has yet entered modern horror-speak, if not it should, as all the hallmarks you would expect in his fiction envelope these tales, from the awful descriptions of pain, torture, death, and mutilation, but presented in a manner which is akin to an aftermath, as the atrocities being described are often well in the past, with their impact continue to vibrate and linger through time with the perpetrators of the scene of the crime capering just out of vision. The mood is unrelentingly pitch black from the first page to the last. With this author I would expect nothing less.
The opening story Hippocampus featured in Nevill’s debut collection Hasty for the Dark and has since featured in two further top quality anthologies. I have reviewed many of Nevill’s previous work and this is what I said back in 2017:
“Hippocampus changes style entirely and is a darkly descriptive story set on an abandoned ship with no visible living beings. This is one of several stories where Nevill changes his style considerable creating an imposing atmosphere and a story which is a jolt in style from the previous one in the book. So where are the crew? Why is their abandoned uneaten food? Who has murdered whom? Death is most certainly in the air. One can almost imagine walking through the after-effects of some horrible crime or event with the reader feeling like he is intruding on something painful and that should be avoided.”
Although Hippocampus was not one of my favourite entries in Hasty for the Dark, it was notably striking and an early example of a story with no characters or dialogue which sets the blueprint for all the other tales in Wyrd and Other Derelictions, with the key word being ‘derelict’ which Nevill references in the revealing endnotes. An interest in physical locations (such as Auschwitz) which have seen incredible pain and suffering, crypts, crime scenes, landscapes, ruined buildings, and places connected through a sense of abandonment is at the root of the tales. Such locations are bread and butter for horror authors and fans with an overactive imagination. When I was a kid in the mid-1980s, in the north of Scotland, we lived close to a ruined mansion called Lessendrum House which our dad claimed was haunted, a rarely used road lead to it which was well off the beaten track. At some point this road fell into disuse and when my family revisited five years ago whilst on holiday, you would never have known there was ever a path in the first place, and the house itself was unrecognisable from three decades earlier and it is forever burned into my childhood psyche along with the ghosts my father claimed inhabited the ruin. Hell, it would have made a location for a story in Wyrd! Old derelict buildings certainly do hold onto a certain level of mystique and these stories truly bring such locations to life.
I would suggest reading the stories gradually, and not necessarily back-to-back, to allow the varied atmospheres from each tale to permeate fully into your thoughts. Along the way you’ll journey along broken coastlines, beaches, swimming pools, burial sites, abandoned villages, deserted holiday resorts and the final outstanding entry Holding the World in My Arms for Three Days and All Will Be Changed, which was perhaps by favourite, as it features more immediacy than many of the other stories with the reader a helpless bystander to a strange supernatural event.
With Wyrd Adam Nevill is leading his readers down a literary sideroad, an experiment which many will enjoy, and more so if they appreciate that these are not traditional short stories. There are no twist endings, characters, or snappy dialogue and that will not be everybody’s cup of tea. If Wyrd and Other Derelictions is indeed Nevill’s concept album, then I am sure long-term fans are going to enjoy it tremendously and then mull over how it compares to his other work and it is sure to split the critics. Ultimately, I thought it was terrific and like all great concept albums is undoubtedly a work the artist felt he needed to get out of his system, and in releasing this Nevill’s already unmatchable back catalogue just got stronger, with many more shades of sinister.
dropping the literary equivalent of a doom metal concept album
Following The Reddening, one of the outstanding horror novels of 2019, was never going to be an easy task, so Adam Nevill takes the bull (or should that be a goat?) by the horns and drops the literary equivalent of the dreaded concept album. In the musical world such recordings are controversial beasts, often loved or reviled by fans in equal measure, but invariably gaining a cult following over a long period of time, via constant reappraisal, with fans locking horns over where this particular album ranks in the artist’s back-catalogue. Wyrd and Other Derelictions is such a beast, which will undoubtedly garner similar discussions in the horror world; many fans will love this curiosity, but as the beauty of concept albums is to split the critics, other readers will surely be left cold by its bleak grasp.
Personally, I was a massive fan of Wyrd and Other Derelictions and would suggest that those who will enjoy this collection most are long term fans of the author who are accustomed to his descriptive style and slow pace, rather than the newbie who I would strongly advise to start elsewhere in Nevill’s outstanding back-catalogue. Who might not enjoy it? If you were bored by the eerie descriptions of the claustrophobic and encroaching forest in The Ritual, or skimmed over the decrepit descriptions of peeling wallpaper in 82 Edgehill Road from No One Gets Out Alive then this might not be the collection for you, as Wyrd beautifully amplifies these types of scenes, building long and atmospheric descriptions around precise standalone moments in time, which on other occasions might have been snapshots extracted from novels or have the potential to be reworked into longer pieces.
You might ask why a collection of short stories is being compared to the concept album? This is not a normal collection in that few of the entries have genuine beginnings, middle sections, or traditional endings. They read, almost as if an unnamed narrator is describing, or walking the reader through, a horrible crime scene in which an undisclosed atrocity has occurred at some point in the past. The stories have no characters, dialogue, or conventional plots and as the literary rulebook is being effectively being thrown out the window Adam Nevill must be congratulated for creating something rather unique. A collection entirely based around mood, atmosphere, and dangerous locations is not something you come across very often.
Of course, multi-author anthologies which are thematically linked are dime-a-dozen, and Stephen King occasionally released inter-linked novellas connected by theme, but few authors have the literary skill to release a collection in which all the stories are entirely made up of descriptions and it is the violence of the locations which links them. Detractors could sneer that this is a rather self-indulgent exercise, but I would argue the opposite; this is a very confident writer at the peak of his powers who firmly stamps the short story with his unique brand. Considering the strength of Nevill’s back-catalogue and track record for producing excellent short stories he is one of the very few authors who could pull such a collection off, which he does in some style.
Fans may look for similarities to his existing fiction and as all of the tales are set around rural or coastal locations, with none set in cities at all, The Reddening and The Lost Girl are the two novels which spring to mind most readily. No names or locations are ever revealed and if not for the occasional mobile phone or abandoned car many of the stories could be set anywhere in time. I do not yet know if the term ‘Nevillesque’ has yet entered modern horror-speak, if not it should, as all the hallmarks you would expect in his fiction envelope these tales, from the awful descriptions of pain, torture, death, and mutilation, but presented in a manner which is akin to an aftermath, as the atrocities being described are often well in the past, with their impact continue to vibrate and linger through time with the perpetrators of the scene of the crime capering just out of vision. The mood is unrelentingly pitch black from the first page to the last. With this author I would expect nothing less.
The opening story Hippocampus featured in Nevill’s debut collection Hasty for the Dark and has since featured in two further top quality anthologies. I have reviewed many of Nevill’s previous work and this is what I said back in 2017:
“Hippocampus changes style entirely and is a darkly descriptive story set on an abandoned ship with no visible living beings. This is one of several stories where Nevill changes his style considerable creating an imposing atmosphere and a story which is a jolt in style from the previous one in the book. So where are the crew? Why is their abandoned uneaten food? Who has murdered whom? Death is most certainly in the air. One can almost imagine walking through the after-effects of some horrible crime or event with the reader feeling like he is intruding on something painful and that should be avoided.”
Although Hippocampus was not one of my favourite entries in Hasty for the Dark, it was notably striking and an early example of a story with no characters or dialogue which sets the blueprint for all the other tales in Wyrd and Other Derelictions, with the key word being ‘derelict’ which Nevill references in the revealing endnotes. An interest in physical locations (such as Auschwitz) which have seen incredible pain and suffering, crypts, crime scenes, landscapes, ruined buildings, and places connected through a sense of abandonment is at the root of the tales. Such locations are bread and butter for horror authors and fans with an overactive imagination. When I was a kid in the mid-1980s, in the north of Scotland, we lived close to a ruined mansion called Lessendrum House which our dad claimed was haunted, a rarely used road lead to it which was well off the beaten track. At some point this road fell into disuse and when my family revisited five years ago whilst on holiday, you would never have known there was ever a path in the first place, and the house itself was unrecognisable from three decades earlier and it is forever burned into my childhood psyche along with the ghosts my father claimed inhabited the ruin. Hell, it would have made a location for a story in Wyrd! Old derelict buildings certainly do hold onto a certain level of mystique and these stories truly bring such locations to life.
I would suggest reading the stories gradually, and not necessarily back-to-back, to allow the varied atmospheres from each tale to permeate fully into your thoughts. Along the way you’ll journey along broken coastlines, beaches, swimming pools, burial sites, abandoned villages, deserted holiday resorts and the final outstanding entry Holding the World in My Arms for Three Days and All Will Be Changed, which was perhaps by favourite, as it features more immediacy than many of the other stories with the reader a helpless bystander to a strange supernatural event.
With Wyrd Adam Nevill is leading his readers down a literary sideroad, an experiment which many will enjoy, and more so if they appreciate that these are not traditional short stories. There are no twist endings, characters, or snappy dialogue and that will not be everybody’s cup of tea. If Wyrd and Other Derelictions is indeed Nevill’s concept album, then I am sure long-term fans are going to enjoy it tremendously and then mull over how it compares to his other work and it is sure to split the critics. Ultimately, I thought it was terrific and like all great concept albums is undoubtedly a work the artist felt he needed to get out of his system, and in releasing this Nevill’s already unmatchable back catalogue just got stronger, with many more shades of sinister.
July 21, 2022
“A book that resembles a bible bound in black leather. Each volume in each tent is identical and laid carefully upon the foot of the beds. No author is cited, but in gold leaf each spine displays the title: WYRD.”
•
I’ve never read any of Adam L.G. Nevill’s books until now and I have to say, this was an interesting start. WYRD is a collection of beautifully unsettling short stories with three things in common: first, there is no dialogue, second, there are no characters or plot, and third, whatever it is we’re supposed to be afraid of is missing—hidden in shadow, heard skittering about upstairs, or made evident by the destruction left in its path—but consistently never seen.
•
Nevill’s writing is vividly descriptive, atmospheric, and sinister in mood. The stories are paced like the slow, cinematic movement of a camera panning over the aftermath of some great apocalyptic tragedy or a crime scene in which we know not the threat. I felt as if Nevill himself was leading me by the hand as my tour guide through the terrible and unsettling.
•
I will be honest and say this ornate and unique style of storytelling won’t be for everybody, especially if you’re one who finds flowery “purple prose” to come off as pretentious or boring (which is completely understandable! You’re not alone). But for others looking for something more unconventional in their horror, this could very well be your cup of tea. (Be sure to check out the Author’s Note at the end as well)!
•
Special thanks to Night Worms, Ritual Limited, and author Adam L.G. Nevill for this #NightWormsBookParty review copy!
•
I’ve never read any of Adam L.G. Nevill’s books until now and I have to say, this was an interesting start. WYRD is a collection of beautifully unsettling short stories with three things in common: first, there is no dialogue, second, there are no characters or plot, and third, whatever it is we’re supposed to be afraid of is missing—hidden in shadow, heard skittering about upstairs, or made evident by the destruction left in its path—but consistently never seen.
•
Nevill’s writing is vividly descriptive, atmospheric, and sinister in mood. The stories are paced like the slow, cinematic movement of a camera panning over the aftermath of some great apocalyptic tragedy or a crime scene in which we know not the threat. I felt as if Nevill himself was leading me by the hand as my tour guide through the terrible and unsettling.
•
I will be honest and say this ornate and unique style of storytelling won’t be for everybody, especially if you’re one who finds flowery “purple prose” to come off as pretentious or boring (which is completely understandable! You’re not alone). But for others looking for something more unconventional in their horror, this could very well be your cup of tea. (Be sure to check out the Author’s Note at the end as well)!
•
Special thanks to Night Worms, Ritual Limited, and author Adam L.G. Nevill for this #NightWormsBookParty review copy!
November 5, 2020
Wyrd and Other Derelictions is a collection of stories with no characters, no plot and no dialogue. We are taken through aftermaths of horror, though desolate sites where something terrible has happened and the natural order has been disrupted by something malevolent.
Adam manages to effectively tell a story through hauntingly beautiful prose that elicits a feeling of isolation and unease as these places are described to us. It’s up to our imagination to work out what has happened, and as you piece together these mysteries, you’re left with a feeling of anxiety the dread.
I adored this book, it’s an experimental and unique experience that is unlike any other book that I’ve read. I give this my highest recommendation, this is a fantastic read that’ll leave you unsettled and wary of being alone.
Adam manages to effectively tell a story through hauntingly beautiful prose that elicits a feeling of isolation and unease as these places are described to us. It’s up to our imagination to work out what has happened, and as you piece together these mysteries, you’re left with a feeling of anxiety the dread.
I adored this book, it’s an experimental and unique experience that is unlike any other book that I’ve read. I give this my highest recommendation, this is a fantastic read that’ll leave you unsettled and wary of being alone.
January 9, 2021
4.5 stars
Wyrd and Other Derelictions is a collection of seven stories. But there the similarity with other collections ends.
Be prepared to go in with your eyes open and experience something you have never read before. Adam Nevill has the ability to get under my skin and not many horror authors can do that. If I had to pick a feeling to describe how I felt when I was reading these, it's unsettled. The imagery is stark but almost poetic, the atmosphere dread-inducing.
It's a masterclass in experimental, descriptive horror and won't be for everyone. But let yourself sink into these ordinary places, witness the catastrophic horrors left, and I challenge you not to be disturbed.
Wyrd and Other Derelictions is a collection of seven stories. But there the similarity with other collections ends.
Be prepared to go in with your eyes open and experience something you have never read before. Adam Nevill has the ability to get under my skin and not many horror authors can do that. If I had to pick a feeling to describe how I felt when I was reading these, it's unsettled. The imagery is stark but almost poetic, the atmosphere dread-inducing.
It's a masterclass in experimental, descriptive horror and won't be for everyone. But let yourself sink into these ordinary places, witness the catastrophic horrors left, and I challenge you not to be disturbed.
December 29, 2020
I'm not sure I liked these "derelictions" but I'm certain I did not dislike it! For what it's worth, the book is suffiently small to give it a try and read it if you're curious about it! Who knows, you might enjoy it, which I have! The "derelictions" do actually work and keep you on the edge of your seat while going through them (well, to be honest, some are much better than the others but it overall do the job).
5 stars, the performance totally worths it ^^
5 stars, the performance totally worths it ^^
December 22, 2020
The opening story, “Hippocampus”, was first published in the anthology Terror Tales of the Ocean (Edited by Paul Finch, P&C Finch Ltd, 2015) and has since been reprinted in anthologies by Ellen Datlow and Ramsey Campbell, as well as being adapted to audio by Pseudopod, in episode 633. The story opens with a seemingly routine description of a container ship ploughing through the waves. But, through a roving point-of-view, unattached to any character, we soon discover that all is not well aboard the vessel. The longer we go without seeing any crew, and the more we witness of the violence and evil that befell the ship before the story began, the closer we get to the edge of our seats. The narrative technique employed here by Nevill makes for effective storytelling, given the nature and length of the story; the suspense probably couldn’t be held for a much longer piece and, as we uncover more details through our tour of the ship, the implications for the future can only be described as bleak.
In “Wyrd”, our narrative guide begins with a birds-eye view of a coastline, comparing it to a leviathan, before following a path into a valley and a circle of brightly coloured tents. But, through a close examination of the setting through his brooding description, Nevill gradually establishes that, not only is there no sign of current human occupation, there are signs that something sinister and terrible has happened. He adeptly gifts the reader with the sense of discovery, being first person on-scene at a tragedy. But, this being a horror story, it isn’t long before the darkness begins to encroach on our guided perspective. And, being an Adam Nevill horror story, this occurs with great subtlety and care to detail, until the true devastation is clear for the reader to see. Questions still remain at the end about the true nature of the events that took place prior to our arrival, but they are posed in such a way to leave the reader satisfied, and chilled to the bone.
“Turning the Tide” begins with the action described from the still waters of a cove to the furthest away tents of a small campground, with a great deal of violence hinted at through the destruction left. It is as though suggestive of the timeline of the tragedy that occurred before the story began, as we seemingly follow the same path as the attackers, from the beach to the camp consisting of tents and campervans. But it also suggests the cove is where the timeline ended, as though the attackers—surely more than one—came from the sea and returned to it with their bounty. We are only offered the merest of hints as to the nature of the perpetrators of the violence, but Nevill handles it extremely well, giving us just enough to truly unnerve us without ever making us yearn for more detail.
Two worlds seemingly collide in “Enlivened”, which begins with the aftermath of a horrific ritual in a cellar, complete with ancient monument and human sacrifice, before continuing upstairs in a seemingly ordinary residential home. Through the eyes of our guide, we are shown a terrifying scene of brutality in the cellar that wouldn’t be out of place in a dark fantasy of sword and sorcery. But, following a path that leads upstairs, we find a modern abode, albeit with the occasional hint at artifacts from a bygone age, like a sword or a shield. We also discover human bodies in various poses, lying where they fell under some monstrous attack. We catch a fleeting glimpse of what could have caused this devastation but, mainly, the horror is in what is left unsaid, left to our own imaginations, fed by Nevill’s bloody and precise descriptions.
“Monument” opens with the discovery of an underground chamber, the entryway seemingly only just uncovered. A brief tour shows us the cremated remains of small animals, long since dead. The exact nature of the site is unclear but, as we pan out from the mound and take in the surrounding area, it becomes clear that the expansion of humans in this rural setting, specifically a swimming pool development in the rear garden of a close property, may have led to the uncovering. Unfortunately for the homeowners, and their neighbours, they have disturbed something more than just an ancient site. The smouldering remains of a tower-like monument is near to the unfinished pool, along with a much grislier collection of personal belongings at the base. And this appears to be only the beginning. The dread described here is truly palpable, and the foreshadowing of worse to come, long after we have left the once-idyllic neighbourhood, is spine-chilling.
It seems appropriate that the next story, “Low Tide”, would open with a scene in a swimming pool, this time situated in a seaside holiday camp. But our guide does not linger in the pool for too long; just long enough to describe the most peculiar sight of tropical vegetation usually found out at sea, feasting on human prey. As the focus of the story widens to take in the devastation wrought on the rest of the camp, from luxurious chalets to everyday caravans, the amenities complex to the amusement arcade, the true nature of the tragic events become clearer, with vibrant descriptions of seemingly disparate sea-life offering little respite to the attack which has taken place. For it does become apparent that what has happened here is no freak accident, or tidal anomaly, but a coordinated assault by all manner of sea-life. You’ll never look at jellyfish or distant “land masses” without a small amount of suspicion ever again.
“Hold the World in My Arms for Three Days and All Will Be Changed.” is by far the greatest in scope when compared with the other stories. And, yet, the narrator is almost more solid as a character, the descriptions of their immediate surroundings giving a somewhat personal and intimate sensation, as though we are right there with them in the abandoned homes of the abandoned town, finding abodes left in a state of rapid desertion. While we are offered this glimpse at these derelictions that have not yet fallen into dilapidation, we occasionally hear about the immeasurable entity that has caused the panic, “an uneven silhouette so high above. Gigantic, black, inert, occulted by blood-light.” Whatever it is (our minds immediately drift to something like Cloverfield or, given the effect it is having on the Earth’s atmosphere, Cthulhu), Nevill juxtaposes its vastness with the more immediate scenes of building and community abandonment, showing the devastation at both global and personal levels. As heartfelt as the smaller surroundings are, the descriptions of the larger-than-Earth entity are breath-taking and terrifying.
As is suggested by the title of the collection, every tale concerns us encountering a recently abandoned site that has been devastated by some (mostly) unseen force; a dereliction. The author addresses the lack of character and dialogue—in a standard sense—in the Story Notes at the end of the book. It does prove something of a challenge, if the reader approaches the stories with an analytical mind. However, such is Nevill’s command of language and ability to project a crystal-clear image into the reader’s mind that we are truly captivated by the inference of what may have happened in each story, given his terrifying description of the aftermath alone. A great deal of effort has been taken to ensure every paragraph, sentence, word serves a particular purpose and is placed so as to deliver a unique and effective reading experience, perfectly-paced and as engaging as any conventional story. We may be making the writing process for these stories sound more scientific than it actually was, but only because the idea of effectively crafting such intricate and compelling fiction without the comfort of characters to whom we can relate and dialogue to rely upon seems like an especially arduous experiment. Fortunately, in this case, we are in the competent hands of a professional storyteller at the cutting edge and at the top of his game.
In “Wyrd”, our narrative guide begins with a birds-eye view of a coastline, comparing it to a leviathan, before following a path into a valley and a circle of brightly coloured tents. But, through a close examination of the setting through his brooding description, Nevill gradually establishes that, not only is there no sign of current human occupation, there are signs that something sinister and terrible has happened. He adeptly gifts the reader with the sense of discovery, being first person on-scene at a tragedy. But, this being a horror story, it isn’t long before the darkness begins to encroach on our guided perspective. And, being an Adam Nevill horror story, this occurs with great subtlety and care to detail, until the true devastation is clear for the reader to see. Questions still remain at the end about the true nature of the events that took place prior to our arrival, but they are posed in such a way to leave the reader satisfied, and chilled to the bone.
“Turning the Tide” begins with the action described from the still waters of a cove to the furthest away tents of a small campground, with a great deal of violence hinted at through the destruction left. It is as though suggestive of the timeline of the tragedy that occurred before the story began, as we seemingly follow the same path as the attackers, from the beach to the camp consisting of tents and campervans. But it also suggests the cove is where the timeline ended, as though the attackers—surely more than one—came from the sea and returned to it with their bounty. We are only offered the merest of hints as to the nature of the perpetrators of the violence, but Nevill handles it extremely well, giving us just enough to truly unnerve us without ever making us yearn for more detail.
Two worlds seemingly collide in “Enlivened”, which begins with the aftermath of a horrific ritual in a cellar, complete with ancient monument and human sacrifice, before continuing upstairs in a seemingly ordinary residential home. Through the eyes of our guide, we are shown a terrifying scene of brutality in the cellar that wouldn’t be out of place in a dark fantasy of sword and sorcery. But, following a path that leads upstairs, we find a modern abode, albeit with the occasional hint at artifacts from a bygone age, like a sword or a shield. We also discover human bodies in various poses, lying where they fell under some monstrous attack. We catch a fleeting glimpse of what could have caused this devastation but, mainly, the horror is in what is left unsaid, left to our own imaginations, fed by Nevill’s bloody and precise descriptions.
“Monument” opens with the discovery of an underground chamber, the entryway seemingly only just uncovered. A brief tour shows us the cremated remains of small animals, long since dead. The exact nature of the site is unclear but, as we pan out from the mound and take in the surrounding area, it becomes clear that the expansion of humans in this rural setting, specifically a swimming pool development in the rear garden of a close property, may have led to the uncovering. Unfortunately for the homeowners, and their neighbours, they have disturbed something more than just an ancient site. The smouldering remains of a tower-like monument is near to the unfinished pool, along with a much grislier collection of personal belongings at the base. And this appears to be only the beginning. The dread described here is truly palpable, and the foreshadowing of worse to come, long after we have left the once-idyllic neighbourhood, is spine-chilling.
It seems appropriate that the next story, “Low Tide”, would open with a scene in a swimming pool, this time situated in a seaside holiday camp. But our guide does not linger in the pool for too long; just long enough to describe the most peculiar sight of tropical vegetation usually found out at sea, feasting on human prey. As the focus of the story widens to take in the devastation wrought on the rest of the camp, from luxurious chalets to everyday caravans, the amenities complex to the amusement arcade, the true nature of the tragic events become clearer, with vibrant descriptions of seemingly disparate sea-life offering little respite to the attack which has taken place. For it does become apparent that what has happened here is no freak accident, or tidal anomaly, but a coordinated assault by all manner of sea-life. You’ll never look at jellyfish or distant “land masses” without a small amount of suspicion ever again.
“Hold the World in My Arms for Three Days and All Will Be Changed.” is by far the greatest in scope when compared with the other stories. And, yet, the narrator is almost more solid as a character, the descriptions of their immediate surroundings giving a somewhat personal and intimate sensation, as though we are right there with them in the abandoned homes of the abandoned town, finding abodes left in a state of rapid desertion. While we are offered this glimpse at these derelictions that have not yet fallen into dilapidation, we occasionally hear about the immeasurable entity that has caused the panic, “an uneven silhouette so high above. Gigantic, black, inert, occulted by blood-light.” Whatever it is (our minds immediately drift to something like Cloverfield or, given the effect it is having on the Earth’s atmosphere, Cthulhu), Nevill juxtaposes its vastness with the more immediate scenes of building and community abandonment, showing the devastation at both global and personal levels. As heartfelt as the smaller surroundings are, the descriptions of the larger-than-Earth entity are breath-taking and terrifying.
As is suggested by the title of the collection, every tale concerns us encountering a recently abandoned site that has been devastated by some (mostly) unseen force; a dereliction. The author addresses the lack of character and dialogue—in a standard sense—in the Story Notes at the end of the book. It does prove something of a challenge, if the reader approaches the stories with an analytical mind. However, such is Nevill’s command of language and ability to project a crystal-clear image into the reader’s mind that we are truly captivated by the inference of what may have happened in each story, given his terrifying description of the aftermath alone. A great deal of effort has been taken to ensure every paragraph, sentence, word serves a particular purpose and is placed so as to deliver a unique and effective reading experience, perfectly-paced and as engaging as any conventional story. We may be making the writing process for these stories sound more scientific than it actually was, but only because the idea of effectively crafting such intricate and compelling fiction without the comfort of characters to whom we can relate and dialogue to rely upon seems like an especially arduous experiment. Fortunately, in this case, we are in the competent hands of a professional storyteller at the cutting edge and at the top of his game.
December 2, 2020
Adam Nevill is brilliant when it comes to describing something on the page that you can truly see in your mind. In my long-time favorite novel,
Last Days
, his detailed illustration of a particular triptych painting had me searching the internet for a true-life copy; I entirely believed it was a real painting upon which the book was based.
In his latest experiment (his own words), Wyrd and Other Derelictions, Nevill chooses to immerse into description entirely, leaving a narrator or characters behind. Each chapter is gloriously specific and precise, but as the author himself wonders, is this successful? It’s certainly interesting, but is it entertaining?
You can read Karin's full review at Horror DNA by clicking here.
In his latest experiment (his own words), Wyrd and Other Derelictions, Nevill chooses to immerse into description entirely, leaving a narrator or characters behind. Each chapter is gloriously specific and precise, but as the author himself wonders, is this successful? It’s certainly interesting, but is it entertaining?
You can read Karin's full review at Horror DNA by clicking here.
January 5, 2021
I first heard of Adam Nevill a few years back. I’d been to the cinema to see IT, and there had been a trailer for a film called The Ritual. It looked my type of film.
A few weeks later and I’m in a supermarket, looking for a book for my son. I spot The Ritual in paperback and decide to buy it. I also got my son a book, fear not!
I read and watch The Ritual and decide I need to check out more of his books.
Next up is The Reddening.
Bloody hell.
That damn book gave me the most vivid nightmare I’ve had in years. Some scenes are still stuck in my head.
I decide to then go for Last Days. There’s a part involving paintings that was just so utterly creepy...
The thing about Adam Nevill books that I absolutely love is he knows how to do scary. His stories have this palpable feeling of dread running through them. You know something very wrong, very bad is coming. With each turn of the page, you head towards something that will get under your skin and make you shiver.
And when the story is done with you, it will bury itself in your memory and haunt you.
That, to me, is horror, and Adam Nevill does it brilliantly.
Wyrd and Other Derelictions is another cracking read of terror, albeit a little different.
In this small collection of tales, we are invited to various different locations to witness the aftermath of terrible events. Some of the things we find are truly disturbing, some bizarre, all of them dark mysteries.
‘Hippocampus’, the first tale we read, sets up this collection perfectly. The reader is given a tour of a modern day Mary Celeste. This boat, however, has more than abandoned meals on tables. Nasty, evil things happened on this boat, that’s for sure.
I’m not going to post any spoilers, as I think this book is best enjoyed fresh. Go into this knowing only that you are going to see horrors, in a slightly different way than usual. As an experiment in writing horror fiction, this works. I’d love to read more of these stories.
You will be left with many unanswered questions, this is true. Do as I did, let your imagination fill in the gaps and go with It.
Don’t forget to leave a light on when you go to bed though.
An easy 5 stars.
A few weeks later and I’m in a supermarket, looking for a book for my son. I spot The Ritual in paperback and decide to buy it. I also got my son a book, fear not!
I read and watch The Ritual and decide I need to check out more of his books.
Next up is The Reddening.
Bloody hell.
That damn book gave me the most vivid nightmare I’ve had in years. Some scenes are still stuck in my head.
I decide to then go for Last Days. There’s a part involving paintings that was just so utterly creepy...
The thing about Adam Nevill books that I absolutely love is he knows how to do scary. His stories have this palpable feeling of dread running through them. You know something very wrong, very bad is coming. With each turn of the page, you head towards something that will get under your skin and make you shiver.
And when the story is done with you, it will bury itself in your memory and haunt you.
That, to me, is horror, and Adam Nevill does it brilliantly.
Wyrd and Other Derelictions is another cracking read of terror, albeit a little different.
In this small collection of tales, we are invited to various different locations to witness the aftermath of terrible events. Some of the things we find are truly disturbing, some bizarre, all of them dark mysteries.
‘Hippocampus’, the first tale we read, sets up this collection perfectly. The reader is given a tour of a modern day Mary Celeste. This boat, however, has more than abandoned meals on tables. Nasty, evil things happened on this boat, that’s for sure.
I’m not going to post any spoilers, as I think this book is best enjoyed fresh. Go into this knowing only that you are going to see horrors, in a slightly different way than usual. As an experiment in writing horror fiction, this works. I’d love to read more of these stories.
You will be left with many unanswered questions, this is true. Do as I did, let your imagination fill in the gaps and go with It.
Don’t forget to leave a light on when you go to bed though.
An easy 5 stars.
October 3, 2020
Wyrd and Other Derelictions is the written equivalent of stumbling upon a mutilated carcass left deep in the forest while out walking alone some evening. With no sign of what brought it to be in its present state, you can’t help but wonder about certain details; the who, what, when, why, how of it all. Was that a branch snapping? Leaves rustling? Did something just move out there at the edge of your vision?
This collection by Adam L.G. Nevill features seven tales of dereliction which leave us to wander a world devoid of humankind, at least any that’s been left breathing, yet rife with the aftermath of mostly unseen and unknown horrors. The overwhelming sense of solitude is furthered by a nearly complete lack of narration, an absence of characters, and zero dialogue. These are stories that place us - the reader - as the sole observer left to encounter the remnants of horrific acts, some more recent than others, and use our imagination to conjure what may have occurred to leave behind the gruesome displays we find before us.
With Wyrd, Nevill makes it clear that horror doesn’t always require confrontations with a killer hiding in the shadows or the things that go bump in the night to elicit fear. Instead, by relying on setting, location, and vivid imagery in combination with a strong atmosphere of dread and a haunting sense of the unknown he was able to create a collection of rather unsettling stories.
This collection by Adam L.G. Nevill features seven tales of dereliction which leave us to wander a world devoid of humankind, at least any that’s been left breathing, yet rife with the aftermath of mostly unseen and unknown horrors. The overwhelming sense of solitude is furthered by a nearly complete lack of narration, an absence of characters, and zero dialogue. These are stories that place us - the reader - as the sole observer left to encounter the remnants of horrific acts, some more recent than others, and use our imagination to conjure what may have occurred to leave behind the gruesome displays we find before us.
With Wyrd, Nevill makes it clear that horror doesn’t always require confrontations with a killer hiding in the shadows or the things that go bump in the night to elicit fear. Instead, by relying on setting, location, and vivid imagery in combination with a strong atmosphere of dread and a haunting sense of the unknown he was able to create a collection of rather unsettling stories.
October 22, 2020
Last year was a treat for me. I had the pleasure of reading The Reddening, pre release. One of the things that absolutely stuck out with me was that Nevill had a way of plucking my brain and placing it smack dab in the middle of a country and landscape I’m completely unfamiliar with, and allowing me to picture it clear as day.
Why is that important? Well, because Adam Nevill has just crafted a collection of stories that do exactly that. It’s all about the settings. Nevill takes a scene where SOMETHING has clearly gone on, and spins a yarn so detailed that you are literally transplanted there. Never again will I ever be able to say a book has taken me somewhere far away and mean it more than I do in this moment. I’m not sure if there are stories out there like what I found within these pages, but I’m pretty sure that there are not entire collections devoted to this method of story telling. The fact that I was able to have my attention held for the duration of an entire collection that is told in such an unorthodox manner is a testament to the skill of Adam Nevill.
I really enjoyed this collection. I would recommend it to almost anyone and just ask them to go in with an open mind. I wasn’t sold on this concept prior to reading it, but Adam Nevill absolutely nailed this one.
Why is that important? Well, because Adam Nevill has just crafted a collection of stories that do exactly that. It’s all about the settings. Nevill takes a scene where SOMETHING has clearly gone on, and spins a yarn so detailed that you are literally transplanted there. Never again will I ever be able to say a book has taken me somewhere far away and mean it more than I do in this moment. I’m not sure if there are stories out there like what I found within these pages, but I’m pretty sure that there are not entire collections devoted to this method of story telling. The fact that I was able to have my attention held for the duration of an entire collection that is told in such an unorthodox manner is a testament to the skill of Adam Nevill.
I really enjoyed this collection. I would recommend it to almost anyone and just ask them to go in with an open mind. I wasn’t sold on this concept prior to reading it, but Adam Nevill absolutely nailed this one.
October 9, 2020
Wyrd And Other Derelictions, Adam Nevill's latest, is an unusual collection of short stories. There are no characters or dialogues. The setting of each of the seven stories is the immediate aftermath of violent and horrific incidents. You get an omniscient view of the bloody scenes as if you happened upon them mere moments after, and can only guess at what must have transpired by clues left behind.
My favorite kind of books are character driven stories so I found it startling to read a book completely devoid of them. Which is not to say I didn't enjoy it. I really did.
I thought at 90 pages, this would be a quick read. But it wasn't. The entire experience was intense and disturbing. I took breaks in between stories, after each story, went back and read a passage or detail again and was thoroughly unsettled.
The book strikes at the heart of everyone's fears - the threat of the unknown. Of being wiped out of existence by things supernatural or powers beyond our control.
I 💯 recommend the book to those looking for morbid and terrifying tales to creep themselves out.
Thank you to @adamlgnevill for the ARC.
My favorite kind of books are character driven stories so I found it startling to read a book completely devoid of them. Which is not to say I didn't enjoy it. I really did.
I thought at 90 pages, this would be a quick read. But it wasn't. The entire experience was intense and disturbing. I took breaks in between stories, after each story, went back and read a passage or detail again and was thoroughly unsettled.
The book strikes at the heart of everyone's fears - the threat of the unknown. Of being wiped out of existence by things supernatural or powers beyond our control.
I 💯 recommend the book to those looking for morbid and terrifying tales to creep themselves out.
Thank you to @adamlgnevill for the ARC.
February 6, 2023
This very short book (102 pages) consists of seven horror stories, followed by the author’s explanation of what he was attempting here. Since they have no characters, and hence neither plot nor dialogue either, “stories” probably isn’t the word for them—Nevill himself calls them “derelictions”. Even the narrator is reduced almost to something like a hand-held camera, documenting various locations where something appalling, something unstoppable and inexplicable, has recently happened: these are seven descriptions of aftermath.
I liked the first one (a Marie Celeste-like ocean freighter), the last (a small country town emptied, siphoned almost, of its human inhabitants) and also the prose itself—it’s beautifully written throughout. Overall, I felt that this doesn’t quite come off; these “derelictions” are a bit samey; a greater variety of disasters or atrocities and it might have worked. I like experimental stuff though, and gave this an extra star just for an author being brave enough, and imaginative enough, even to try something like this.
I liked the first one (a Marie Celeste-like ocean freighter), the last (a small country town emptied, siphoned almost, of its human inhabitants) and also the prose itself—it’s beautifully written throughout. Overall, I felt that this doesn’t quite come off; these “derelictions” are a bit samey; a greater variety of disasters or atrocities and it might have worked. I like experimental stuff though, and gave this an extra star just for an author being brave enough, and imaginative enough, even to try something like this.
Displaying 1 - 30 of 311 reviews