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thomaswjoyce's review
5.0
Pigeon and her brother, Roland, live alone in the house once owned by their late father. It is quite apart from any other homes in Skillute, which is most fortunate as we learn throughout the book. Pigeon’s mother, Sophie, was born a Dodd, and those who have read the other Skillute books will recognise that name. Dodd women have long been known to practice witchcraft, a fact not lost on Pigeon as she strives to unlock her own abilities, something that is proving difficult. For this reason, and knowing as all Skillute-natives did, that the answer to the town’s mystical lore lay in the ground beneath their feet, Pigeon refuses to leave the town. Even when the abuse she and her brother faced at the hands of a brutal father forced Roland to leave.
But he couldn’t travel far enough away to escape the nagging voice of his sister in his head, confirming the strength of the bond they shared. This is something that is established early, and Miskowski makes it seem effortless. Through the dialogue between them and the inner dialogue of Roland, just a few paragraphs pass and we can feel the love between the two. It is the love of survivors. The love of two siblings who have faced abuse, and fought back. In doing so, Roland’s dark secret, known only by himself and his sister, takes an even more sinister turn and becomes something he refers to as his “craving”. We aren’t immediately privy to what that is – although it is hinted at in a disturbing scene at the beginning of the story, one which is actually reminiscent of a subplot in The Worst is Yet to Come – but Miskowski does an excellent job of allowing the revelation to unravel naturally.
This craving leads Roland to become fixated on two young girls who attend the high school where he works as a janitor, and his sister as a cook in the kitchen. Thus begins the entanglement with the previous novel, as Pigeon and Roland’s storyline becomes increasingly intertwined with that of Briar Kenny and Tasha Davis. He has long been warned by his sister to notice the inconsistencies in the pattern of life. He looks for signs everywhere; signs that show when a situation is not right, or that there is something unusual about a person. He senses something unusual about the two girls and so begins to pay them more than the usual amount of attention.
To say much more about the story would possibly lead to spoiling not only this novella, but also the preceding novel. Miskowski has indicated on social media and in interviews that this story is best enjoyed as a “companion piece” to the novel. Indeed, it was originally intended as a sub-plot of that book, but was deemed to be pulling attention away from the main story of Tasha and Briar and the darkness that ensnares them. Although this novella could possibly be read and enjoyed alone, there are certain elements introduced toward the end that directly reference the outcome of the novel and, in our opinion, to get the most satisfaction out of the story, we agree with the author. In reading both books, we can see how the novella further develops the story of Skillute and the darkness that permeates the town from beneath, without detracting from the novel. There are subtle connections throughout (the cottonwood fibres, the fate of Tyler Blanchard, the appearance – and disappearance – of two sinister little children) which, while insignificant in the grand scheme of this story, does enhance the reading experience when having read the novel first.
If the town of Skillute had only ever existed within the pages of Knock Knock and Miskowski had never felt the need to explore it further, it would have been real enough to haunt the memories of any reader who visited that one book. But, having continued her examination of the disturbing town and its cursed inhabitants, she has created something akin to King’s Castle Rock. Through the eyes of multiple generations of women, from the town’s founding to the present day, and the relationships they form with each other, she has shown us the worst that human nature has to offer. Seemingly ordinary people guided by a dark presence. I say it with the nicest of intentions, but Miskowski has a real knack of creating the most tenebrous characters. While this novella differs slightly from the previous work, the key components of a Skillute story are still clearly evident. The setting is as tangible as words on a page can get, the descriptions drawing us into the story as effectively as scenes on a screen. We are instantly intimate with the inner thoughts of the main characters through the most effectual and economical use of inner dialogue, yet we still wish to learn more, such is the author’s tremendous capacity for potent characterisation. The power of great storytelling lies in the author’s ability to create a world as real as our own and fill it with such compelling and engaging characters so that we can’t resist bearing witness to the horror as it unfolds. It is a power that Miskowski has in abundance, as is proven by her body of work in general, and this novella in particular. While I may not want to live an entire lifetime in Skillute, Washington, I will happily pay a visit anytime S.P. Miskowski extends the invitation.
But he couldn’t travel far enough away to escape the nagging voice of his sister in his head, confirming the strength of the bond they shared. This is something that is established early, and Miskowski makes it seem effortless. Through the dialogue between them and the inner dialogue of Roland, just a few paragraphs pass and we can feel the love between the two. It is the love of survivors. The love of two siblings who have faced abuse, and fought back. In doing so, Roland’s dark secret, known only by himself and his sister, takes an even more sinister turn and becomes something he refers to as his “craving”. We aren’t immediately privy to what that is – although it is hinted at in a disturbing scene at the beginning of the story, one which is actually reminiscent of a subplot in The Worst is Yet to Come – but Miskowski does an excellent job of allowing the revelation to unravel naturally.
This craving leads Roland to become fixated on two young girls who attend the high school where he works as a janitor, and his sister as a cook in the kitchen. Thus begins the entanglement with the previous novel, as Pigeon and Roland’s storyline becomes increasingly intertwined with that of Briar Kenny and Tasha Davis. He has long been warned by his sister to notice the inconsistencies in the pattern of life. He looks for signs everywhere; signs that show when a situation is not right, or that there is something unusual about a person. He senses something unusual about the two girls and so begins to pay them more than the usual amount of attention.
To say much more about the story would possibly lead to spoiling not only this novella, but also the preceding novel. Miskowski has indicated on social media and in interviews that this story is best enjoyed as a “companion piece” to the novel. Indeed, it was originally intended as a sub-plot of that book, but was deemed to be pulling attention away from the main story of Tasha and Briar and the darkness that ensnares them. Although this novella could possibly be read and enjoyed alone, there are certain elements introduced toward the end that directly reference the outcome of the novel and, in our opinion, to get the most satisfaction out of the story, we agree with the author. In reading both books, we can see how the novella further develops the story of Skillute and the darkness that permeates the town from beneath, without detracting from the novel. There are subtle connections throughout (the cottonwood fibres, the fate of Tyler Blanchard, the appearance – and disappearance – of two sinister little children) which, while insignificant in the grand scheme of this story, does enhance the reading experience when having read the novel first.
If the town of Skillute had only ever existed within the pages of Knock Knock and Miskowski had never felt the need to explore it further, it would have been real enough to haunt the memories of any reader who visited that one book. But, having continued her examination of the disturbing town and its cursed inhabitants, she has created something akin to King’s Castle Rock. Through the eyes of multiple generations of women, from the town’s founding to the present day, and the relationships they form with each other, she has shown us the worst that human nature has to offer. Seemingly ordinary people guided by a dark presence. I say it with the nicest of intentions, but Miskowski has a real knack of creating the most tenebrous characters. While this novella differs slightly from the previous work, the key components of a Skillute story are still clearly evident. The setting is as tangible as words on a page can get, the descriptions drawing us into the story as effectively as scenes on a screen. We are instantly intimate with the inner thoughts of the main characters through the most effectual and economical use of inner dialogue, yet we still wish to learn more, such is the author’s tremendous capacity for potent characterisation. The power of great storytelling lies in the author’s ability to create a world as real as our own and fill it with such compelling and engaging characters so that we can’t resist bearing witness to the horror as it unfolds. It is a power that Miskowski has in abundance, as is proven by her body of work in general, and this novella in particular. While I may not want to live an entire lifetime in Skillute, Washington, I will happily pay a visit anytime S.P. Miskowski extends the invitation.
thomaswjoyce's review against another edition
5.0
Pigeon and her brother, Roland, live alone in the house once owned by their late father. It is quite apart from any other homes in Skillute, which is most fortunate as we learn throughout the book. Pigeon’s mother, Sophie, was born a Dodd, and those who have read the other Skillute books will recognise that name. Dodd women have long been known to practice witchcraft, a fact not lost on Pigeon as she strives to unlock her own abilities, something that is proving difficult. For this reason, and knowing as all Skillute-natives did, that the answer to the town’s mystical lore lay in the ground beneath their feet, Pigeon refuses to leave the town. Even when the abuse she and her brother faced at the hands of a brutal father forced Roland to leave.
But he couldn’t travel far enough away to escape the nagging voice of his sister in his head, confirming the strength of the bond they shared. This is something that is established early, and Miskowski makes it seem effortless. Through the dialogue between them and the inner dialogue of Roland, just a few paragraphs pass and we can feel the love between the two. It is the love of survivors. The love of two siblings who have faced abuse, and fought back. In doing so, Roland’s dark secret, known only by himself and his sister, takes an even more sinister turn and becomes something he refers to as his “craving”. We aren’t immediately privy to what that is – although it is hinted at in a disturbing scene at the beginning of the story, one which is actually reminiscent of a subplot in The Worst is Yet to Come – but Miskowski does an excellent job of allowing the revelation to unravel naturally.
This craving leads Roland to become fixated on two young girls who attend the high school where he works as a janitor, and his sister as a cook in the kitchen. Thus begins the entanglement with the previous novel, as Pigeon and Roland’s storyline becomes increasingly intertwined with that of Briar Kenny and Tasha Davis. He has long been warned by his sister to notice the inconsistencies in the pattern of life. He looks for signs everywhere; signs that show when a situation is not right, or that there is something unusual about a person. He senses something unusual about the two girls and so begins to pay them more than the usual amount of attention.
To say much more about the story would possibly lead to spoiling not only this novella, but also the preceding novel. Miskowski has indicated on social media and in interviews that this story is best enjoyed as a “companion piece” to the novel. Indeed, it was originally intended as a sub-plot of that book, but was deemed to be pulling attention away from the main story of Tasha and Briar and the darkness that ensnares them. Although this novella could possibly be read and enjoyed alone, there are certain elements introduced toward the end that directly reference the outcome of the novel and, in our opinion, to get the most satisfaction out of the story, we agree with the author. In reading both books, we can see how the novella further develops the story of Skillute and the darkness that permeates the town from beneath, without detracting from the novel. There are subtle connections throughout (the cottonwood fibres, the fate of Tyler Blanchard, the appearance – and disappearance – of two sinister little children) which, while insignificant in the grand scheme of this story, does enhance the reading experience when having read the novel first.
If the town of Skillute had only ever existed within the pages of Knock Knock and Miskowski had never felt the need to explore it further, it would have been real enough to haunt the memories of any reader who visited that one book. But, having continued her examination of the disturbing town and its cursed inhabitants, she has created something akin to King’s Castle Rock. Through the eyes of multiple generations of women, from the town’s founding to the present day, and the relationships they form with each other, she has shown us the worst that human nature has to offer. Seemingly ordinary people guided by a dark presence. I say it with the nicest of intentions, but Miskowski has a real knack of creating the most tenebrous characters. While this novella differs slightly from the previous work, the key components of a Skillute story are still clearly evident. The setting is as tangible as words on a page can get, the descriptions drawing us into the story as effectively as scenes on a screen. We are instantly intimate with the inner thoughts of the main characters through the most effectual and economical use of inner dialogue, yet we still wish to learn more, such is the author’s tremendous capacity for potent characterisation. The power of great storytelling lies in the author’s ability to create a world as real as our own and fill it with such compelling and engaging characters so that we can’t resist bearing witness to the horror as it unfolds. It is a power that Miskowski has in abundance, as is proven by her body of work in general, and this novella in particular. While I may not want to live an entire lifetime in Skillute, Washington, I will happily pay a visit anytime S.P. Miskowski extends the invitation.
But he couldn’t travel far enough away to escape the nagging voice of his sister in his head, confirming the strength of the bond they shared. This is something that is established early, and Miskowski makes it seem effortless. Through the dialogue between them and the inner dialogue of Roland, just a few paragraphs pass and we can feel the love between the two. It is the love of survivors. The love of two siblings who have faced abuse, and fought back. In doing so, Roland’s dark secret, known only by himself and his sister, takes an even more sinister turn and becomes something he refers to as his “craving”. We aren’t immediately privy to what that is – although it is hinted at in a disturbing scene at the beginning of the story, one which is actually reminiscent of a subplot in The Worst is Yet to Come – but Miskowski does an excellent job of allowing the revelation to unravel naturally.
This craving leads Roland to become fixated on two young girls who attend the high school where he works as a janitor, and his sister as a cook in the kitchen. Thus begins the entanglement with the previous novel, as Pigeon and Roland’s storyline becomes increasingly intertwined with that of Briar Kenny and Tasha Davis. He has long been warned by his sister to notice the inconsistencies in the pattern of life. He looks for signs everywhere; signs that show when a situation is not right, or that there is something unusual about a person. He senses something unusual about the two girls and so begins to pay them more than the usual amount of attention.
To say much more about the story would possibly lead to spoiling not only this novella, but also the preceding novel. Miskowski has indicated on social media and in interviews that this story is best enjoyed as a “companion piece” to the novel. Indeed, it was originally intended as a sub-plot of that book, but was deemed to be pulling attention away from the main story of Tasha and Briar and the darkness that ensnares them. Although this novella could possibly be read and enjoyed alone, there are certain elements introduced toward the end that directly reference the outcome of the novel and, in our opinion, to get the most satisfaction out of the story, we agree with the author. In reading both books, we can see how the novella further develops the story of Skillute and the darkness that permeates the town from beneath, without detracting from the novel. There are subtle connections throughout (the cottonwood fibres, the fate of Tyler Blanchard, the appearance – and disappearance – of two sinister little children) which, while insignificant in the grand scheme of this story, does enhance the reading experience when having read the novel first.
If the town of Skillute had only ever existed within the pages of Knock Knock and Miskowski had never felt the need to explore it further, it would have been real enough to haunt the memories of any reader who visited that one book. But, having continued her examination of the disturbing town and its cursed inhabitants, she has created something akin to King’s Castle Rock. Through the eyes of multiple generations of women, from the town’s founding to the present day, and the relationships they form with each other, she has shown us the worst that human nature has to offer. Seemingly ordinary people guided by a dark presence. I say it with the nicest of intentions, but Miskowski has a real knack of creating the most tenebrous characters. While this novella differs slightly from the previous work, the key components of a Skillute story are still clearly evident. The setting is as tangible as words on a page can get, the descriptions drawing us into the story as effectively as scenes on a screen. We are instantly intimate with the inner thoughts of the main characters through the most effectual and economical use of inner dialogue, yet we still wish to learn more, such is the author’s tremendous capacity for potent characterisation. The power of great storytelling lies in the author’s ability to create a world as real as our own and fill it with such compelling and engaging characters so that we can’t resist bearing witness to the horror as it unfolds. It is a power that Miskowski has in abundance, as is proven by her body of work in general, and this novella in particular. While I may not want to live an entire lifetime in Skillute, Washington, I will happily pay a visit anytime S.P. Miskowski extends the invitation.
motherhorror's review against another edition
5.0
I'm hoping to turn this review into Cemetery Dance or Tor Nightfire. The Skillute series needs a full-on write-up. Also putting this on the Stoker recommended reading list. It's that good, this whole series is--S. P. Miskowski is a treasure in the world of Horror. Don't miss out.
christinogle's review against another edition
5.0
A chilling companion to the novel The Worst is Yet to Come. Both books are part of a larger Skillute cycle also including Knock Knock, Delphine Dodd, Astoria, and In the Light. I love the ambition behind this project and have enjoyed all of the books I've read from it (still need to read In the Light, though). This particular one might appeal to those who enjoyed the first season of True Detective.
errantdreams's review against another edition
5.0
Right off the bat I should point out that S.P. Miskowski’s horror novella The Best of Both Worlds is not a standalone novel. In order to not feel like you’re really missing something, particularly at the end, you need to have read The Worst Is Yet To Come. On the plus side, I enjoyed that book well enough that I went back and re-read it before reading this one, and it was quite worth it. So just make sure you read them in order.
Pigeon and Roland Dempsey are sister and brother. Pigeon works in the school cafeteria, and Roland is the school’s janitor. Both of them go unnoticed much of the time. Women in Pigeon’s mother’s family are born with the ability to speak to the dead, but Pigeon doesn’t have that gift. She seems somehow plugged into the town, however, and she follows rituals to keep her and her brother safe. Roland brings her the, uh, supplies, needed for her rituals.
This is an intriguing story. It’s the flip side of The Worst Is Yet To Come, taking place at the same time. Roland has been following Briar and Tasha, the two girls at the heart of that other book, and finds himself caught in the middle of the strangeness going on around them. He knows one of the girls has gone bad, and that there’s something very strange about her, but he can’t put his finger on any of it.
I can’t say much more without spoiling this short work, so I’ll just say that if you enjoyed that other Miskowski book, you should absolutely read this one!
Original review posted on my blog: http://www.errantdreams.com/2020/06/short-take-the-best-of-both-worlds-s-p-miskowski/
Pigeon and Roland Dempsey are sister and brother. Pigeon works in the school cafeteria, and Roland is the school’s janitor. Both of them go unnoticed much of the time. Women in Pigeon’s mother’s family are born with the ability to speak to the dead, but Pigeon doesn’t have that gift. She seems somehow plugged into the town, however, and she follows rituals to keep her and her brother safe. Roland brings her the, uh, supplies, needed for her rituals.
This is an intriguing story. It’s the flip side of The Worst Is Yet To Come, taking place at the same time. Roland has been following Briar and Tasha, the two girls at the heart of that other book, and finds himself caught in the middle of the strangeness going on around them. He knows one of the girls has gone bad, and that there’s something very strange about her, but he can’t put his finger on any of it.
I can’t say much more without spoiling this short work, so I’ll just say that if you enjoyed that other Miskowski book, you should absolutely read this one!
Original review posted on my blog: http://www.errantdreams.com/2020/06/short-take-the-best-of-both-worlds-s-p-miskowski/
brucemri's review against another edition
5.0
Two things to note up front:
#1. I got an advance review copy.
#2. This is a piece of serial fiction. It runs in parallel with the preceding novella, The Worst Is Yet To Come, converging at the end, and the next volume will resolve them both. Nothing wrong with serial fiction, but it's good to know what you're getting so that you can shape expectations appropriately. This ends on a _great_ cliffhanger.
This is the next installment in S.P.'s Skillute Cycle, covering generations of attempted normal life and lurking supernatural peril in a fictional southwestern Washington town. As always, the exotic threat is tightly woven into close observations of the real social pressures along the whole corridor from Portland, Oregon, to Seattle, Washington, that shape Skillute's place - who comes and why, what happens when they're here, the consequences to the community from accumulated failed ambitions.
The protagonists this time out are brother and sister Rolands and Pigeon, who lead nondescript lives in a nondescript part of town. She works in the high school cafeteria, he's the school janitor, and both are the sort of people it's very easy for others to overlook. That suits them, because they don't care about anyone but each other, and like how little trouble they have pursuing things that matter to them, like his abduction and murder of strangers so that she can practice communing with their dead souls. The women of her family have always been good at that, and it's a great frustration to her that she can't. But her brother loves her and is happy to keep doing his part to help her try, and it's not like anyone else ever matters to either of them.
I've enthused before about the great calmness S.P. brings to her prose, and it's here in full force. She does't have to leap around, point, and shout, "See! See!" The moral void in both characters emerges in its own time as negative space around the attention and care they bring to the things that do matter to them. It's an effect I like very much.
The siblings bring to bear a fascinating set of perspectives on what's been going on in Skillute for a while. They see so much of what others have thought was hidden, and understand a great deal more than others might wish for. In the end it's not quite enough, as their lives ram headlong into those of the protagonists of The Worst Is Yet To Come...and now I have to sit here while S.P. writes the conclusion! Truly a wretched fate.
I love this series so much, and am freshly hooked and delighted with each addition. It's wonderfully substantial, and deserves your attention, if the prospect of multigenerational horror and observed life in an interesting part of the world appeals.
#1. I got an advance review copy.
#2. This is a piece of serial fiction. It runs in parallel with the preceding novella, The Worst Is Yet To Come, converging at the end, and the next volume will resolve them both. Nothing wrong with serial fiction, but it's good to know what you're getting so that you can shape expectations appropriately. This ends on a _great_ cliffhanger.
This is the next installment in S.P.'s Skillute Cycle, covering generations of attempted normal life and lurking supernatural peril in a fictional southwestern Washington town. As always, the exotic threat is tightly woven into close observations of the real social pressures along the whole corridor from Portland, Oregon, to Seattle, Washington, that shape Skillute's place - who comes and why, what happens when they're here, the consequences to the community from accumulated failed ambitions.
The protagonists this time out are brother and sister Rolands and Pigeon, who lead nondescript lives in a nondescript part of town. She works in the high school cafeteria, he's the school janitor, and both are the sort of people it's very easy for others to overlook. That suits them, because they don't care about anyone but each other, and like how little trouble they have pursuing things that matter to them, like his abduction and murder of strangers so that she can practice communing with their dead souls. The women of her family have always been good at that, and it's a great frustration to her that she can't. But her brother loves her and is happy to keep doing his part to help her try, and it's not like anyone else ever matters to either of them.
I've enthused before about the great calmness S.P. brings to her prose, and it's here in full force. She does't have to leap around, point, and shout, "See! See!" The moral void in both characters emerges in its own time as negative space around the attention and care they bring to the things that do matter to them. It's an effect I like very much.
The siblings bring to bear a fascinating set of perspectives on what's been going on in Skillute for a while. They see so much of what others have thought was hidden, and understand a great deal more than others might wish for. In the end it's not quite enough, as their lives ram headlong into those of the protagonists of The Worst Is Yet To Come...and now I have to sit here while S.P. writes the conclusion! Truly a wretched fate.
I love this series so much, and am freshly hooked and delighted with each addition. It's wonderfully substantial, and deserves your attention, if the prospect of multigenerational horror and observed life in an interesting part of the world appeals.
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