Paul Tremblay’s fiction gets inside your head—sometimes literally: his novel A Head Full of Ghosts is about what may or may not be a demonic possession, and The Cabin at the End of the World centers around a home invasion by a quartet of people who may be menacing invaders, or who may be on a desperate mission to prevent the apocalypse. Tremblay’s fiction pulls off the difficult task of making the ambiguous scary: rather than show you a monster or demon, he creates the barest hint of one, offers an equally compelling mundane explanation, and allows the reader to grapple with which one is more terrifying in its implications.
His latest book is a story collection, Growing Things. In its range and assortment of techniques, it’s Tremblay’s most ambitious book; it’s also a work that abounds with references to his other novels, although prior knowledge of them is not required to make sense of these. (With perhaps one exception, which we’ll get to in a moment.) Given the range showcased here, it may not be quite as successful as some of his other books—The Cabin at the End of the World was, for me, one of the most unsettling novels I’ve read in years—but it’s still got plenty of kick.