It’s true I’ve gotten a little behind on my reviews lately, so I will try to remedy that from here on out. Which brings me to Ramsey Campbell’s The Hungry Moon. I know Campbell primarily as a short story writer, and in that field very few modern horror writers can touch him. In my review for the horror anthology Cutting Edge, I pointed out that my favorite story in the book was Campbell’s The Hands, where a freaky urban church is the source of the horror. Campbell definitely knows how to tap into the darker side of religion. That is amply demonstrated in The Hungry Moon.
The novel is set in a little British village called Moonwell, so named because it contains an ancient cave said to house a demonic being with some connection to the moon. Long ago local Druids managed to trap the creature in the cave and keep it there with magical rites performed on the same day every year, a tradition that has continued on to present day with nary a problem. Enter Godwin Mann, a young evangelical Christian from California, who has come to Moonwell to win their quaint little British pagan hearts over to his distinctly American brand of Christianity, and he does so by vowing to descend into the cave and confront once and for all whatever satanic presence is lurking down there. The problem is, the being in the cave has absolutely nothing to do with any Christian devils, but is rather something that descended to Earth from the stars many millennia ago, a monstrosity more akin to Lovecraft’s Great Old Ones than to anything out of religious lore.
The book sets up Mann as a typical charismatic preacher who manages to whip the town into a religious frenzy, complete with book burning and purging of some of the more liberal elements of the town. That alone would be bad enough, but then Mann makes good on his promise and confronts the thing in the cave . . . which promptly possesses his body, escapes from its long-time prison and proceeds to take advantage of the powerful influence its evangelist host has already established over the townsfolk, mesmerizing and manipulating them for its own ends. By the time the handful of people with the good sense to steer clear of Godwin Mann’s cult realize that something is very, very wrong in Moonwell (I mean, besides the fact that an outsider has come in and turned nearly everyone into Bible-thumpers in no time flat), it’s pretty much too late. The village has been cut off from the outside world, and a permanent darkness has settled over it. With all electricity severed, the only source of light in town is now the Godwin Mann-thing, a sort of giant glowy spider with Mann’s face, and all sorts of weird-ass stuff starts coming out of the woodwork to boot.
One thing I hate with a passion is when horror authors simply substitute gross-out stuff for real horror. Luckily this is something Campbell masterfully steers clear of at every turn, going instead for the slow build-up that’s much more rewarding in the end. And as usual, Ramsey Campbell writes beautifully intricate and thoughtful sentences, which I happen to prefer over Stephen King’s short and choppy point-blank style (your mileage may vary). Campbell’s writing feels baroque and pregnant with dark possibility whereas King tends to just hit you over the head with everything, using his words like a blunt object, which, depending on the story, either works spectacularly or has a flattening effect on the writing, depriving it of much-needed nuance and emotional resonance.
The story also works as an allegory of the destructive power of religious fanaticism, with particular emphasis on the way true believers can be easily manipulated by anyone who wears the mask of a holy man and tells them what they want to hear. Campbell even manages to sprinkle the book with some well-timed humor, a difficult feat in a horror novel, especially one that deals with such a contentious topic. One scene where a couple of stand-up comic’s on-stage personas manifest as actual people in the backseat of a car was especially fun, managing to be both hilarious and creepy as all get-out at the same time. Another tricky issue here is how the author pits a stalwart English spiritual tradition against flashy Hollywood-style American evangelism, making it essentially a tale of conflicting national cultures that could easily have been offensive in the wrong hands. Personally, I’ve seen enough Pat Robertsons, Creflo Dollars and Jim and Tammy Faye Bakkers to know that Godwin Mann is actually pretty restrained as these guys go, and I’ve never been a fan of their type anyway. But it’s clear that Campbell has more in mind here than cheap shots at America. Hell, he even makes his main heroine a transplanted New Yorker just so you can be absolutely sure that this isn’t intended to be anti-Yank.
To be sure, the book is not without its flaws, the main one being that there are a lot of characters in it, and Campbell doesn’t do quite enough to keep them distinct from one another. This is particularly problematic in the early chapters, where I found myself more than once trying to sort out who was who. It does get easier as the book progresses and the various connections between the characters are slowly clarified, but they still could’ve done with more backstory, or just some general fleshing out of their personalities. The other big problem is the resolution, which is just a little too deus ex machina for my taste, not to mention that the way the monster is defeated is laughably absurd and far too wussified for such an awesome antagonist. There are also some subplots that go nowhere, including one in which the creature is planning to gain possession of nuclear weapons stored in a bunker just outside of Moonwell. Too bad this ultimately became little more than a disappointing afterthought. The idea of a Lovecraftian monster taking control of nuclear weapons is a good one.
But even with these problems, The Hungry Moon is measured, cunning and scary enough to entertain most fans of the genre, I think, particularly those who gravitate toward the Lovecraft school of horror literature. It’s not the most original of ideas perhaps, but there’s enough style and Campbellian strangeness here to make for a worthwhile read for hardcore horror buffs and especially Campbell fans.