Justin Cronin, The Passage (Ballantine: 2010), 784 pages.
Jamie Lee Curtis, as "final girl" Laurie Strode in Halloween (1978).
I just couldn't do it. But I did try. I'd heard great things about The Passage, the 700+ page thriller by Justin Cronin. I checked the ebook out from my local public library and downloaded it to my Kindle and began tearing through it like a death-row inmate infected by a terrifyingly aggressive Amazonian bat virus... YIKES.
I've had this problem before, in fact I've had it all my life: I'm too squeamish for horror. The only scary movie I truly love is The Shining, which is less a horror movie than a Kubrick movie. All his movies are scary in some way (though The Shining is much less scary when recut as a family-friendly comedy, as seen here). The only reason I got any enjoyment out of Halloween, the 1978 John Carpenter movie, was because I was able to watch it on a meta-level, with Jamie Lee Curtis as the classic "final girl", the victim who overcomes her torturers, thanks to Carol Clover's fantastic book, Men, Women & Chain Saws: Gender in Modern Horror Film. (Alert: BEST BOOK TITLE EVER).
I tried to read Stephen King's The Stand and quit once it got too... horrific. But I had high hopes for The Passage, perhaps because I thought it would be more of a dystopian fantasy along the lines of The Hunger Games (a novel about children killing each other - is there anything more horrifying?), which I was able to appreciate, if not enjoy.
The Passage begins with a classic Hubris of Man setup: American scientists hacking through the South American jungle in search of a miracle virus that will cure cancer and, possibly, death. Where are the bioethicists when you need them? Not in this scene, unfortunately, and thus a killer virus begins its journey from hidden bat cave to the rest of the planet. We then cut to various character setups: the early life of young Amy Bellafonte, the girl who will save the world; Brad Wolgast, the FBI agent who will save Amy; etc. We see the initial stages of disaster unfolding faster than the general public realizes or could even imagine and it's thrilling, as a thriller should be. The writing is perfect: fast but not cheap. A young cop is described as "a fresh recruit with a face pink as a slice of ham" and storm clouds are "a wall of spring thunderheads ascending from the horizon like a bank of blooming flowers in a time-lapse video."
This was all good. Exciting, fun, great language. But then it got scary. I'm not even going to get into it, because if you like this kind of thing you will read it for yourself and if you don't it will just sound icky. It is icky, but more than that, it's actually frightening. Cronin succeeds in describing an apocalypse that will make you worry not just about bats but about future natural disasters and what happens when the things that keep society glued together break down, from communication pathways (Wolgast realizes things are getting really bad when USA Today is reduced to two short pages) to electrical power plants to food production systems. And VAMPIRES! There, I said it.
I always enjoy the setups more than the outcomes, whether it's Harry Potter first encountering Diagon Alley to buy his wizardry supplies or walking through Dignan's 75-year plan for success in Wes Anderson's first movie, Bottle Rocket (1996), but in the case of horror it turns out it's the only part I am capable of enjoying. The decision to not finish it, however, did allow me the pleasure of spoiling the entire series (The Passage is the first of three novels, two of which have been published so far) by reading its Wikipedia page, something I also do on a guilt-free basis when the Game of Thrones books bog down. I recommend it.
So I apologize, Justin Cronin. You've written a terrific horror novel. It's just too scary to read.