Reviews for NOS4A2

Booklist Reviews 2013 April #1
*Starred Review* In Heart-Shaped Box (2007) and Horns (2010), Hill showed hints of an enlarging literary toolbox. With this 700-page opus, the tool set is complete, and Hill has indeed built something very big. The story follows Vic, from 8-year-old girl to troubled teen to embattled mother, as she struggles to survive as a "strong creative"--one who has access (in her case, via a ramshackle bridge) to an alternate universe constructed from imagination. Problem is, a chief attraction of this other America is Christmasland, a snowy Neverland carnival controlled by cheery, ageless child-abductor Charlie Manx (think Bentley Little's Mailman or Stephen King's Pennywise). Manx tries to take Vic to Christmasland as a kid, and years later, in the book's central conflict, he tries to take her son. Hill doesn't spend much time in reality before careening deliriously off into a la-la land of horrifying absurdism (a bottomless Scrabble bag, a mouth full of fish-hook teeth). This engenders inelegance; at times, the parts are more than the whole. But Hill is omnivorous in his appetite for story and character, and here he has created his best: Lou, Vic's obese, warm-hearted lover; Bing, Manx's demented chief elf; and gutsy, heartbreaking Vic. Occasional drawings by Hill's Locke & Key conspirator, Gabriel Rodriguez, add one more element to this vast and gangly but undeniably readable work. HIGH-DEMAND BACKSTORY: What isn't being done for horror fiction's heir apparent? Big advertising, big author tour, big e-book teasers, big videos--even the advance reading copies are gorgeously produced. Copyright 2012 Booklist Reviews.

BookPage Reviews 2013 May
Readers, start your engines--for a creepy trip to Christmasland

Joe Hill says it took him quite a while to find the spark that would make his riveting new horror novel roar to life. Though he ended up writing the bulk of NOS4A2 in about seven months, getting the book started wasn’t easy.

“I struggled with figuring out how I wanted to write a female lead,” Hill says by phone from his home in New England. The novel’s main character, Victoria McQueen, is a tough, wild thing with an unusual talent. When we meet her as a young girl, Vic has just discovered that sometimes, much to her surprise, her beloved Raleigh bicycle takes her to a covered bridge that shouldn’t exist. When she rides the Raleigh across the bridge, Vic finds whatever lost object had been on her mind: a teddy bear, her mother’s bracelet and, later on, serious trouble.

From the start, Hill knew the basics of the story, its broad arc and time span. But he wasn’t quite sure how to frame it. “That took a little while to figure out,” he says.

Then, like Vic, the author set out to find trouble—specifically, he needed to find Charlie Manx, the story’s villain, a creepy but weirdly charismatic old man, a kidnapper who might also be something much worse. “It took me longer to find Manx’s voice than almost any character I’ve ever struggled to reach,” Hill says. “That was a lot of the struggle early in the book. Then once I found it, it was like a big car engine turning over.”

“Sometimes the less you know, the scarier someone is.”

Charlie Manx drives a sleek black 1938 Rolls-Royce with the license plate “NOS4A2.” (“It is one of my little jokes,” Manx tells another character early in the book. “My first wife once accused me of being a Nosferatu.”) Manx’s crooked teeth, bony skull and hawk-like stare make him instantly sinister, but he’s also—like all the best bad guys—mysteriously seductive, and he genuinely believes he’s helping the kids he lures in. It’s precisely this bizarre mix of evil and magnanimity that makes the old guy such a charmer. As Hill puts it: “He’s so happy!”

Manx drives around collecting children with bleak futures, “rescuing” them and taking them to a place he calls Christmasland. To Manx, he’s doing these kids the favor of their lives. Even if they resist at first, a ride in the Rolls makes Christmasland irresistible to Manx’s young passengers. “When they get out of the car,” Hill says, “they are filled with joy.”

Never mind that they are also . . . in for a surprise. The Rolls-Royce, it turns out, runs on souls instead of unleaded.

“I like a big, fat, high concept to hang a story on,” Hill acknowledges. And this is an enormous novel: 704 pages long, spanning 25 years and much of the United States, not to mention a few landscapes in other dimensions. Hill says he’d been wanting to go big for a while, and part of the draw of writing such a vast tale came from his fondness for episodic storytelling, the kind Dickens used to do. As far back as the ’50s, Hill points out, one of the highest goals for a fiction writer was to have a story serialized in The New Yorker. Even today there’s plenty of great episodic storytelling to be found—it just happens to be on television instead of paper. “ ‘Breaking Bad’ isn’t a TV show,” Hill says, “it’s a novel.”

As Hill’s fans know, NOS4A2 is not his first venture into epic story­telling; he’s spent years writing episodes of the dark-fantasy comic book Locke & Key, which is illustrated by Gabriel Rodriguez (who also did the illustrations for NOS4A2). Like the novel, Locke & Key is concerned with the idea that magic and wonder, though commonplace in childhood, are either lost or dangerous to adults.

“When I was growing up, a lot of my literary heroes were comic book writers,” Hill says. He mentions Alan Moore’s 40-issue run on Swamp Thing; Frank Miller; Neil Gaiman’s Sandman; and later examples such as Brian K. Vaughan’s Y: The Last Man, all of which turned him on to the idea of writing something episodic. “I wanted to have something like that,” he says. “I wanted to see what it was like to have a story that would take me years to tell.” The constancy of writing Locke & Key, he found, was a comfort, a touchstone he could rely on during difficult times in his personal life.

Like the issues of Locke & Key, chapters in NOS4A2 frequently end with a cliffhanger—sometimes even in the middle of a sentence.

“I had no shame,” Hill says. “I tried to make one chapter end where it would be hard to put the book down.” Further demonstrating the pull of episodic storytelling, this was an “extension of what I’ve done in Locke & Key.”

Later this year, Hill adds, he plans to write a comic book set in the NOS4A2 universe. It will be drawn by Charles Wilson III (The Stuff of Legend), whose style Hill calls “really terrifically disturbing, like if R. Crumb illustrated Winnie the Pooh.” The comic will include a Charlie Manx origin story that originally took up almost 100 pages in the novel but was lopped out for pacing reasons, and because Hill thought it somehow reduced the level of Manx’s menace. Using the example of Darth Vader, Hill points out that some of the greatest villains are great only until we find out where they came from: “Sometimes the less you know, the scarier someone is.”

Which brings us, conveniently, to the Joe Hill origin story. Hill’s dad happens to be Stephen King, though he kept this a secret for the first decade or so of his writing life. He’d started writing fiction seriously while in college, and he worried that even if he wrote something mediocre, someone might publish it anyway because of the famous name, and then he’d be branded as the guy trying to “ride the coattails.” He also wanted the freedom to write whatever he felt like, including genre fiction. So he chose a pen name (drawing on his full name, Joseph Hillstrom King) and kept his famous parentage under wraps mostly “by failing,” he says, adding with a laugh: “Nothing assures your anonymity like failure.”

Though it was, of course, frustrating when he couldn’t sell his first novel to a publisher, Hill now sees that as “the pen name doing its work.” He did find early success in comics and with his short stories, and eventually his agent (who also didn’t know he was King’s son) sold a collection of stories to PS Publishing, which opened the door to the publication of his novel Heart-Shaped Box, in 2007. That book drew enough media attention that clues to his identity began to emerge. Bloggers would speculate, particularly after readings and public appearances (Hill looks strikingly like his father). But his savvier fans cooperated in keeping the secret, until eventually a mainstream magazine broke the news. By then, though, the pen name had done its job: Hill was confident that he had earned his success on his own merits. “In the end,” he says, “you will always be judged by your own work, and it doesn’t matter who your dad is.”

(Adding to the family’s literary legacy, Hill’s brother, Owen King, has also just published a novel, Double Feature.)

Hill is hard at work on his next novel, which he’s about halfway through and expects to publish in 2014. “I’m trying to get faster,” he adds. He writes full-time: “It’s a 9-to-5 job.”

When he’s not at work, Hill likes riding his motorbike, a Triumph Bonneville (not coincidentally, an old Triumph figures prominently in NOS4A2). For the novel’s publicity tour, he says, “I was toying with the idea of getting an Evel Knievel suit and riding from bookstore to bookstore . . . you know, you want to put on a good show.”

Copyright 2012 BookPage Reviews.

Kirkus Reviews 2013 April #1
A good-natured romp in the garden of good and evil--or, as rising horror/fantasy maven Hill (Heart-Shaped Box, 2007, etc.) has it, Christmasland. If you remember Stephen King's It or, heck, "The Pied Piper of Hamelin," you'll remember that there are few setups creepier than a dude with shiny toys luring children to their doom. It gets creepier still when Santa Claus has "gaping jaws," and a supernatural harpy comes equipped with ornaments that "dangled from her pierced breasts"--why, it's enough to put a person off Christmas forever. The author of all this mayhem (and Hill is so skillful that we don't know till the very end whether he'll get away with it) is a mysterious but charming hellion named Charles Talent Manx, who likes nothing better than to take the local youth for a one-way spin in a Rolls-Royce Wraith bearing the easily deciphered license plate that is the novel's title. Can anyone stop his infernal joy riding? Maybe, just maybe, and it makes perfect sense that it's a steampunk-ish young woman who patrols the Massachusetts landscape on a Raleigh bike. Though there are King-ian shades--the underworld setup, the possessed car, the cool chick--Hill's story is quite original, and, for horror fans of a certain ironic bent, it's an unqualified delight, well-written and, within limits, believable. It's also quite gruesome in spots ("The Gasmask Man was in two pieces, connected by a single fatty string of gut") and altogether quite scary, all of which adds up to a successful exercise in spookiness. Bonus points for being smart and having a young woman as a heroine who doesn't need saving herself. Fun for all ages, though maybe with a PG warning. Copyright Kirkus 2013 Kirkus/BPI Communications.All rights reserved.

Library Journal Reviews 2012 December #1

In a 1938 Rolls-Royce Wraith whose license plate reads NOS4A2, Charles Talent Manx takes children on a terrifying ride out of the real world. Has Victoria McQueen really stopped him? With a one-day laydown on April 30 and a 200,000-copy first printing.

[Page 58]. (c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Library Journal Reviews 2013 February #2

What child wouldn't want to live in a place where it's Christmas every day? Where life is hot cocoa, gingerbread, gifts, and amusement park rides? Every year, Charlie Manx takes one or two "special" children in his vintage Rolls Royce (license plate reads "NOS4A2") to Christmasland, a place that can't be found on any conventional map, where they get to experience the joy of Christmas morning every day and never grow up. But underneath the pretty wrapping paper, Christmasland is not all that it seems. Vic McQueen can also travel to places that most people don't know exist, and at age 17, she attempts to put a stop to Manx's trips to Christmasland. Years later when Manx resurfaces and kidnaps her son, Vic will risk everything to rescue her son and put an end to Christmasland once and for all. VERDICT While the title is misleading since the book is not really about vampires, Hill (Heart-Shaped Box; Horns) has created characters in Charlie Manx and Vic McQueen that are comparable to those of other horror juggernauts such as Peter Straub and Hill's dad, Stephen King. Fascinating and utterly engaging, this novel is sure to leave readers wanting more. One thing is certain, however. After reading this book, readers will never hear Christmas carols in quite the same way again. [See Prepub Alert, 11/12/12.]--Elisabeth Clark, West Florida P.L., Pensacola

[Page 78]. (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Library Journal Reviews 2013 June #1

Driving a 1938 Rolls-Royce, Charles Manx gathers deserving children and takes them to Christmasland, a place of endless games, cocoa, and gingerbread cookies that doesn't appear on any map. Vic McQueen, the only kid to escape Manx's macabre game, has unusual talents of her own. Now an adult, Vic must confront her worst nightmare to save her son before it is too late. VERDICT Hill delivers an intricate story line full of terror and courage that brings out the best and the very worst in his protagonists, characters you won't soon forget. A book focused on Christmas may not be the most obvious summer read, but readers will feel the "chill" when they hear those first Christmas carols come September. (LJ 2/15/13)

[Page 102]. (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Library Journal Reviews Newsletter
Hill, son of horror master Stephen King, comes into his own as a full-fledged literary star with this gripping epic of good versus evil. Once a year, Charlie Manx selects "special" children for a ride in his vintage Rolls Royce to Christmasland. Vic McQueen, the only one to escape Charlie's clutches, is determined to stop him, especially after her son is kidnapped. Fasten your seat belts: you're in for a scary but thrilling ride. (LJ 2/15/13)--WW (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Reviews 2013 March #4

Reviewed by Joe R. Lansdale. Horror is too simplistic a word for Joe Hill's new novel, but there's no denying it makes the skin crawl like a worm on a hot rock. It's as much fantasy-thriller as a descent into the maelstrom, but no matter how you label it, what makes it work best is that it is a novel of well-defined characters, and one character in particular: the Brat, real name Victoria McQueen. Victoria discovers she has a knack. She can find lost things. She does this by concentrating on the object and riding her bike, a Raleigh Tuff Burner. While on board her metal and rubber-tired steed, she is subtly carried away into a world that seems as real as her own. It is accessed by the Shorter Way Bridge and is a place where all things lost that Vic seeks are found. When she crosses back into our world with the found object, the bridge ceases to exist, at least until she sets her mind to a new search and starts across once again on her trusty machine. It's an amazing talent but it has a price, both physical and emotional. Vic doesn't understand her abilities, but as she gets older she comes across someone she thinks can explain them to her--a woman with a bag of Scrabble game tiles through which she divines answers, reminiscent of an ancient soothsayer prowling through animal guts and rattling human knuckle bones. Vic finds her revelations less than reassuring, and it looks as if she may be in for some harrowing moments, which, of course, is what we are all hoping for as readers. In contrast to Vic, whose intentions are good, is Charles Manx, and if that last name doesn't clue you in that he's the villain of this piece, then the car he drives will: a 1938 Rolls Royce Wraith with a license plate reading NOS4A2. He arrives in our world out of a place called Christmasland, a phantasmagoric amusement park full of dark possibilities and, in spite of its child-pleasing title, containing about as much light and happiness as a concentration camp at midnight. Like Dracula, Manx has his Renfield--Bing Partridge, a pathetic gas-mask-wearing follower looking for validation and love; a sad creature sticking himself tight to someone more powerful than himself and his personal role model for evil. Manx, Bing, and Vic cross paths, as one would expect, and it's a dynamic collision with an echo that reverberates through the years and sets all three up for a new and even more frightening encounter that makes the first one look like a child's birthday party. Joe Hill's NOS4A2 is a brilliant exploration of classic and modern monsters and dark fantasies, all cut up, restitched and retooled, sliding you along as if you're cruising way too fast in a rusty old Cadillac down a dark, twisty road with no lights, bald tires, and no hands on the wheel. Watch out for the pot holes. They're deep. With this novel, riveting from beginning to end, Joe Hill has become a master of his craft. Joe R. Lansdale is the author of 30 novels and numerous short stories. His most recent novel is Edge of Dark Water from Mulholland Books

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