Justin Robinson's FIFTY FEET OF TROUBLE

The best Halloween present a pulp/noir/monster fiction fan could possibly get is a new Justin Robinson novel, and that is exactly what happened this year.* A sequel to his almost-illegally-too-fun City of Devils, it's Fifty Feet of Trouble.

Once again, our guide through the madness is Nick Moss, the last human private eye in Los Angeles, finder of missing persons, encounterer (sure, that's a word. Now.) of the titular trouble.** Which starts off in sort of the same vein as last novel, but has with it a whole weight of emotional baggage that you just don't have to deal with when a doppelganger of no previous acquaintance asks you to find her missing mummy husband.

This time around, Nick's quarry is human (Still. We Hope.), but not only is she human, she is a little girl, and not only is she a little girl, but she is the daughter of two close and dear friends who fought with him in the Night War (the conflict after WWII when the Monsters Took Over), and not only are they his close and dear friends but they already lost a child to the monsters and... see where this is going? There are several sub-plots that tie into this main one, but the missing little girl quest is the armature on which all of the other stuff hangs like a fifty-foot [REDACTED] off a giant floating stone [REDACTED].

So where City of Devils was mostly a slapstick romp with some moments of hilarious danger, there is a mature and emotionally powerful undertone to our hero's quest this time around. Be assured, though: this doesn't detract from the fun of reading it; it enhances it. And yes, there's still silly monster stuff. For instance, one of Nick's other assignments is finding a magical missing toad, so a witch friend of his can continue casting spells.

So, as I said on GoodReads, I wasn't expecting this to be Justin Robinson's best novel yet, but it's his best novel yet. The comedy and tragedy set each other off to perfection (a paragraph after a line that makes you howl with laughter and want to read pages aloud to some hapless stranger, there's a gut punch ready to knock you out cold), the new characters are beautifully realized, and the new over-the-top villains are used with admirable and judicious restraint,*** and no plot thread is left dangling. Like Nick and not-his-lady-friend off a giant floating stone [REDACTED].

So, if you're anything like me, you'll want to set aside a block of time to just utterly devote to this novel. Have some snacks ready. And some holy water. And some garlic. And some silver. And some salt. And a camera. And a bullhorn. Useful things, bullhorns. You just never know when you'll have to talk down a giant rampaging [REDACTED].

And, psst, best of all, Nick Moss has more adventures coming Not Soon Enough. Werewolf Confidential. Okay.

*What. Halloween presents are totally a thing. Where have you been? Well, yes, this first time I did have to buy it for myself, but I trust that this won't always be the case. Right? RIGHT?

**Now that I know Justin better -- he even blurbed my upcoming book -- I know exactly how much he loves words like "titular."

***You'll be glad of this. Reverend Bobo. I need a brandy.

Justin Robinson's EVERYMAN

I mostly know of Justin Robinson as a cleverly goofy writer of fun stuff like his Mr. Blank books and City of Devils -- imaginative, occasionally silly romps that take an entertaining premise and run buck-wild with it.* I only vaguely knew that he wrote more traditional genre fiction, too, with a bent towards horror.

What I didn't know was that when he does so, if Everyman is anything to go by, he achieves even more impressive results.

Everyman goes on my virtual shelves alongside the works of Tony Burgess (Pontypool Changes Everything, The N-Body Problem), Ben Marcus (The Flame Alphabet) and Colson Whitehead (Zone One).** What do these have in common? They're ostensibly horror, but they transcend the genre in various amazing ways.

Superficially, Everyman is treading through Tim Powers territory, and I don't just say this because it so lovingly traces its way through the geography of Los Angeles. Its monsters (well, at least one of them) would be at home in a Powers novel, as would its depiction of the warm and happy but doomed marriage at the heart of its narrative, and it has chills similar to those that Powers occasionally offers, but Everyman has emotional beats and trappings that are entirely its own thing.

The book can be read as an extended ad absurdam metaphor for identity theft; its antagonist, Ian, can do so with frightening completeness, just by rooting out what thing among all of a person's possessions actually carries the most of his victim's emotional identification and stealing it. Possession of this possession allows him to mimic the person so completely that even those closest to the victim believe that Ian is the real person and their loved one is a bad and terrifying imposter -- even if both of them are in the room.

The victim is quickly expelled from his paradise, and finds that not only those who know him or her, but everyone, reacts to him or her with a deep lizard-brain level of hostility.

Such happens to our first protagonist, David, in the first act, and we spend a lot of time with him as his new unreality sinks in. He is suddenly friendless, homeless, loveless -- his own mother, his friends and neighbors, even, most importantly, his truly beloved wife, Sophie (who winds up the real hero of this novel in lots of poignant -- and kickass -- ways) threaten violence or law enforcement involvement at the very sight of him. This material is every bit as gut-wrenching as you might expect, but never strays into melodrama, remaining merely deeply effective, and eventually, quite Kafkaesque.***

And then things get bad.

Ian's power works in weird and grotesque ways, ways that Robinson spent a lot of time and effort reasoning out (again, in a very Tim Powers way that I can't applaud enough. Yes, it's supernatural/magical, but that doesn't mean it shouldn't be internally logical!). Ian's victims don't just wind up lonely and homeless: there is a far sadder, weirder and grosser fate awaiting them. And their chosen objects. Yuck.

I am seriously impressed.

*And as a hilariously snarky lover of television and movies of questionable quality, which he loves (?) to share with us over at The Satellite Show.

**I suppose Doris Lessing belongs there, too, but I've only read The Fifth Child and don't want to read any more as a result.

***I mean, really, is anything more Kafkaesque than a well-constructed doppelganger story? To be truly Kafkaesque I suppose our heroes would have to have gotten tangled up in the justice system's red tape, but still.

Justin Robinson's CITY OF DEVILS

First of all, look at the cover. Just look at it! Isn't it the most pulptastic thing you've seen since those covers Kelley Jones did for Steve Niles' Edge of Doom a few years back? Serioiusly, if that cover doesn't make  you want to drop everything and go get you a copy of City of Devils, I... I question your capacity for joy in this life!

OK, I'm going to calm down in a moment here, I promise. But, you know, this is the new novel from Justin "Mr. Blank" Robinson, so a little gushy excitement on my part is entirely in order.

This time around, Robinson has taken a page from Angry Robot's team playbook and come out with a classic bit of genre mashing. There have been plenty of crime/noir-meets-fantasy/horror novels in the last few years, but did we really need yet another one, however good?

Well, yes, yes we did. Because this isn't just horror noir, this is movie monster horror noir, you guys. Campy movie monster horror noir, even.. As in the world in which this novel is set is one in which, sometime not long after World War II came another gigantic and world-changing war as the result of a violent unknown event* that transformed a sizable portion of humanity into real-world movie monsters of every kind, from mummies in cheesy faux Egyptian regalia to wolfmen to werewolves (there's a difference, you know) to Frankenstein's monster (which I guess now should be plural) to witches to gremlins to doppelgangers to... you get the idea. And not only are movie monsters now real, but each and every one of them has the power to make more monsters -- by "turning" ordinary humans into whatever monster the turning monster is. Which all of the monsters are very keen to do. Really really keen.

This results in a Los Angeles, ca I'm guessing the late 1950s or early 1960s, in which plain old human beings are a persecuted minority, hunted and despised, and in which there is exactly one human private eye left in the city: our man Nick Moss. Who just got hired by a famous movie star/doppelganger to find her missing husband, a prominent and powerful mummy.

Of course Mr. Moss uncovers a much deeper and more intricate plot than just a missing husband, as we quickly learn when his fellow (hee) humanitarians start getting bumped off one by one.

The resulting book is dense, deeply silly and a whole lot of fun. As a follow-up to Mr. Blank it comes off as something of a lesser work but pretty much anything would probably seem that way, though, nota bene for those who got annoyed by some of the gender/body image politics that crept into Mr. Blank (as I did, slightly), who will be happy to learn that there is none of that to be had in City of Devils.

And in its place is loads of crazy, inventive over-the-top fun as Mr. Moss escapes from werewolves, phantoms (as in "of the opera"), wolfmen (remember, there is a difference), a lovesick pumpkinhead who dreams of connubial bliss after he's turned Moss into another pumpkinhead, ogres, giant crawling eyeballs, gremlins, cops and movie studio executives. Some of whom fill more than one role.

Ridiculous good fun, this!

*Wink, as always, at the Peter Greenaway fans out there.