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A group of six oddball but doughty children confront the trail of a colossal and dreadful supernatural malevolence that has entered our realm from the outer limits of shadow. They have no choice but to wage a lifelong battle confronting it, experiencing horror after horror in the ordeal.

An Echoing Premise with a Fresh Twist

This describes the premise, in essence, of the master of horror’s novel It (a standout in his career; undeniable). It is also the plot of the celebrated author’s heir Joe Hill’s latest chilling tome, in which a close-knit group invoke the ancient, deeply sinister serpent King Sorrow from the Abyssal Void to aid them in overcoming some baddies. Unsurprisingly, their arcane ceremony has unintended consequences.

Embracing a Authorial Heritage

The author launched his profession making great efforts to avoid any connection from his famous father, publishing under the pen name he maintains to this day and steering clear of encounters with his agent (he possesses a uncanny likeness to his father). Yet with this recent release, he embraces it. Several quotes that consciously reflect some of the senior author’s well-known (“The man in black fled across the desert …”); a moment that recalls a recurring theme in King’s works (a game of puzzles). Throughout this massive book, Joe Hill takes pleasure in his family connection, and we delight along with him.

Meet the Protagonists

Returning to the group: most are students at the made-up the esteemed institution in Maine. First is Arthur, studious and gifted, deciphering historical enigmas in his leisure hours; another key figure, rich, sharp, and prone to trampling anyone who stands in his way; Donna and Donovan; the stunning Allie. And there’s Gwen, who remains outside their academic circle, but assumes a vital role of their circle as they toy, half believing, partly skeptical, in arcane arts.

The Critical Summoning

Arthur is, due to circumstances beyond his control, obliged to take prized manuscripts from his treasured institution’s archives by a bunch of local criminals. This tears at his bookish heart, notably because he’s forced to acquire the collection’s foremost and unsettling publication: the diary of occultist Enoch Crane (condemned “for dealing with infernal entities in 1703”; the binding is fashioned from his hide). Our Scooby gang read the journal, realize they are able to call forth what the occultist details as a “arrogant beast to assist Arthur with his extortion dilemma – and devote the remaining story reaping the consequences. The dragon will indeed rid them of those troublesome local drug dealers, but they must select a different victim each year or become his victim themselves. In the character’s own words: “You plant seeds of destruction, all you get is additional horrors.”

Stylistic Dexterity and Inventive Range

Spanning forty years, Hill also moves with seamless grace across narrative styles: as the companions attempt to deal with the situation they find themselves in by, variously, picking people who are obviously evil to immolate, or hunting down ways to kill the dragon themselves, we move between suspense to shadowy tale, covert operations to love story to horror. My favorite genre switch was to a quest story, deep in the caves below Cornwall, a segment sprinkled with the fantasy maestro that was gloriously terrifying.

A Rich Canvas of Fear and Optimism

We encounter trolls – those living under bridges and digital trolls, genuinely frightening and superbly depicted. There are magical swords and treacheries, breath-taking moments of bravery and ones of appalling malevolence, both mortal and otherworldly. This is a remarkable achievement: a frightening tale that is chiefly a ode to the creative spirit, and to love and friendship. “We needed a story to believe and {now we’ve got one|presently we possess it|currently we hold it,” says Colin as the friends gather at the table, getting ready to invoke their dragon to life with the power of their thoughts.

As Hill puts it in his epigraph: “Here be dragons”. Do not overlook this.