![]() A toothless, crazed, yet fleet-footed geriatric woman breaks into Callum’s apartment, attacks him with a pair of scissors and relays an ominous message: “We’re coming.” The sense of place feels generic, with garden-variety descriptions of local flora and sneering local yokel Deliverance types that don’t serve your kind. There are sundry creepy critters: swarming mosquitoes, bloated dead bullfrogs, a barn spider, vigilant crows, black snakes, a plague of cicadas and a phantasmagorical albino alligator. This advertisement has not loaded yet, but your article continues below. ![]() The tagline that emblazons Cauchemar’s cover promises that “the veil between worlds is thinner here,” but it’s not as thin as the gauzy paranormal activity Cauchemar relies upon for narrative thrust. The greatest hope and the greatest horrors coexist where all things are possible.” All things possible indeed: there’s not a lot of consistent logic, internal, mythical or otherwise, governing the events of this story. As well, Hannah inherits the house where she was raised, though it’s dilapidated, tucked into the edge of a swamp, and, as we’re warned more than once, it’s “a summoning ground” and “a crossroads.” What’s a crossroads? Christobelle describes it as “the safest place, and the most dangerous. What Hannah does have going for her is, it would appear, a sort of beguiling naïveté that wins her a devoted new boyfriend-a boat captain and aspiring blues musician named Callum-the very first night she ever goes to a bar. Activate your Online Access Now Article content If you are a Home delivery print subscriber, unlimited online access is included in your subscription. ![]() Manage Print Subscription / Tax Receipt.
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