Author Paul Tremblay joins me to chat his latest book The Cabin at the End of the World, his journey into success, his stories in films in discussion, and his short fiction.
Listening to a story rather than reading with eyeballs usually has a bit of a negative effect, though not always. In the case of The Cabin at the End of the World, not only was the listen positive, I think it might be the right way to experience some more literary horror. For me anyhow.
Aside from the lengthy measurement of word choice, heavy descriptions are typical of the literary tale and one of more predominant attributes that help classify a story as literary. The descriptions here can get long, particularly with surroundings, which is where I think perhaps it makes it a great choice for listening. Unlike reading in the typical sense, listening leaves your eyes free to roam, and for me, that can pull me from a story somewhat. However, the lengthy descriptions kept me right there, seeing while my eyes kept me moving (I listened while taking walks).
Getting lengthy at times can lead to meandering, which does happen in this story, though not often enough to constitute much of rating punishment. When rampant, meandering can make a story boring and if meandering coexists with predictability, a book is asking for it. Paul Tremblay set this story up in such a way that an easy, methodical route could’ve been followed, but was ignored almost wholly, leaving a wonderfully unpredictable plot.
The story is engrossing and the characters endearing, even frustrating with their human flaws. Easy connections throughout. The bad guys (if they were indeed bad guys) are believable and natural in their manic need.
Overall, The Cabin at the End of the World is a painful, entertaining, and absorbing story with sufficient twists and possibilities to keep the reader jumping from one potential outcome to another. Quality tale.