am∙bi∙gu∙i∙ty:
the quality of being open to more than one interpretation; inexactness
the quality of being open to more than one interpretation; inexactness
There’s a story from Paul Tremblay’s Bram Stoker Award-winning anthology GROWING THINGS (William Morrow, 2019) entitled A Haunted House Is A Wheel Upon Which Some Are Broken. It’s written in the style of a Choose-Your-Own-Adventure. While I found the concept intriguing, particularly for a horror story (What? You actually want me to decide whether or not to investigate that strange sound in the basement?), I went in expecting something quirky and fun. Cleverly written, of course, but nevertheless tongue in cheek. I could not have been more mistaken. The story is, in fact, a powerful statement on love and loss and the ghosts that haunt us all, to one degree or another.
It is, in other words, the quintessential Paul Tremblay story.
Tremblay’s signature use of the element of ambiguity is, without question, the secret ingredient to his brilliance. His novels and stories contain more than enough evidence to convince readers that something intensely unsettling, if not outright supernatural, is happening, while leaving out just enough to make us wonder if the horror might not actually be something with a more rational, albeit no less horrifying, explanation; a hoax perpetrated by a troubled girl. The abduction of a young boy. A violent home invasion committed by a group of fanatics. It is in this way that virtually everything Tremblay writes becomes something of a Choose-Your-Own-Adventure. Was it really this? Or was it actually that?
This is certainly not to imply that Tremblay leaves his readers with a lack of understanding as to what has transpired over the course of his stories. Make no mistake, the reader knows full well what has happened. And that it was horrifying. Tremblay simply leaves it to the reader’s interpretation as to how it happened. Were there really malevolent forces perpetuating evil deeds upon these unfortunate and unsuspecting characters? Or was the horror simply created by the kind of real-life monsters we see all too often in newspaper headlines and nightly news stories? There is, after all, horror to be found in either conclusion. The beauty of this approach is that the reader’s interpretation, no matter which version they choose to believe, can justifiably be considered to be correct. It is precisely this ambiguity that forces readers to reflect on Tremblay’s books for far longer than they might consider the works of other authors that are told in a more traditional style.
Tremblay’s books have everything any fan of the genre could ever dream of in their darkest nightmares; true horror being visited upon relatable characters in stories that are exquisitely crafted and often pack an emotional punch the reader will not see coming until it’s much too late. Modern day fans, particularly those born around the turn of the 21st century, may be justifiably tempted to crown Tremblay the Master of Horror. He has, after all, won the Bram Stoker (three times), the British Fantasy, and the Massachusetts Book Awards and been a finalist for many others. Unfortunately, there’s a horror writer living in the backwoods of Maine who has apparently been using that particular title for some time now. I’ve tried contacting him to see if he might be willing to pass it on to Mr. Tremblay but he hasn’t returned my calls.
How about the Master of Ambiguity? Yeah. I like the sound of that. And I have a feeling Paul would, too. Or maybe not. I’ll leave it to you to decide.
It is, in other words, the quintessential Paul Tremblay story.
Tremblay’s signature use of the element of ambiguity is, without question, the secret ingredient to his brilliance. His novels and stories contain more than enough evidence to convince readers that something intensely unsettling, if not outright supernatural, is happening, while leaving out just enough to make us wonder if the horror might not actually be something with a more rational, albeit no less horrifying, explanation; a hoax perpetrated by a troubled girl. The abduction of a young boy. A violent home invasion committed by a group of fanatics. It is in this way that virtually everything Tremblay writes becomes something of a Choose-Your-Own-Adventure. Was it really this? Or was it actually that?
This is certainly not to imply that Tremblay leaves his readers with a lack of understanding as to what has transpired over the course of his stories. Make no mistake, the reader knows full well what has happened. And that it was horrifying. Tremblay simply leaves it to the reader’s interpretation as to how it happened. Were there really malevolent forces perpetuating evil deeds upon these unfortunate and unsuspecting characters? Or was the horror simply created by the kind of real-life monsters we see all too often in newspaper headlines and nightly news stories? There is, after all, horror to be found in either conclusion. The beauty of this approach is that the reader’s interpretation, no matter which version they choose to believe, can justifiably be considered to be correct. It is precisely this ambiguity that forces readers to reflect on Tremblay’s books for far longer than they might consider the works of other authors that are told in a more traditional style.
Tremblay’s books have everything any fan of the genre could ever dream of in their darkest nightmares; true horror being visited upon relatable characters in stories that are exquisitely crafted and often pack an emotional punch the reader will not see coming until it’s much too late. Modern day fans, particularly those born around the turn of the 21st century, may be justifiably tempted to crown Tremblay the Master of Horror. He has, after all, won the Bram Stoker (three times), the British Fantasy, and the Massachusetts Book Awards and been a finalist for many others. Unfortunately, there’s a horror writer living in the backwoods of Maine who has apparently been using that particular title for some time now. I’ve tried contacting him to see if he might be willing to pass it on to Mr. Tremblay but he hasn’t returned my calls.
How about the Master of Ambiguity? Yeah. I like the sound of that. And I have a feeling Paul would, too. Or maybe not. I’ll leave it to you to decide.
read our review of survivor song here
A riveting novel of suspense and terror from the Bram Stoker award-winning author of The Cabin at the End of the World and A Head Full of Ghosts.
When it happens, it happens quickly.
New England is locked down, a strict curfew the only way to stem the wildfire spread of a rabies-like virus. The hospitals cannot cope with the infected, as the pathogen's ferociously quick incubation period overwhelms the state. The veneer of civilisation is breaking down as people live in fear of everyone around them. Staying inside is the only way to keep safe.
But paediatrician Ramola Sherman can t stay safe, when her friend Natalie calls her husband is dead, she's eight months pregnant, and she's been bitten. She is thrust into a desperate race to bring Natalie and her unborn child to a hospital, to try and save both their lives.
Their once familiar home has becoming a violent and strange place, twisted in to a barely recognisable landscape. What should have been a simple, joyous journey becomes a brutal trial.
When it happens, it happens quickly.
New England is locked down, a strict curfew the only way to stem the wildfire spread of a rabies-like virus. The hospitals cannot cope with the infected, as the pathogen's ferociously quick incubation period overwhelms the state. The veneer of civilisation is breaking down as people live in fear of everyone around them. Staying inside is the only way to keep safe.
But paediatrician Ramola Sherman can t stay safe, when her friend Natalie calls her husband is dead, she's eight months pregnant, and she's been bitten. She is thrust into a desperate race to bring Natalie and her unborn child to a hospital, to try and save both their lives.
Their once familiar home has becoming a violent and strange place, twisted in to a barely recognisable landscape. What should have been a simple, joyous journey becomes a brutal trial.
George is a lifelong fan of horror fiction with a particular interest in small press and indie authors. He is also a proud member of the Horror Community on social media. You can find him on Twitter as Book Monster @Sshh_ImReading