![]() Its connection to the narrative is tenuous, it illuminates very little, and perhaps the best evidence that the rest of Devil House is spectacular is that even this section can’t ruin it. The telling of a Welsh legend about King Gorbonianus, it’s written in a dreadful mock medieval syntax. Unfortunately, the novel’s interlude nearly derails the book. The sections set in the Devil House are comparatively conventional, but no less gripping. ![]() He sprinkles the first-person throughout as a reminder that it’s Chandler who’s telling the story, and each hits like an unexpected creak, as if I’d been caught watching something I shouldn’t have been. Darnielle skillfully navigates the difficult point of view, pulling the reader ever tighter into the narrative. Ingrained in each part is a question about the nature of true crime and whether it’s possible to write it ethically and with real compassion for the victims. After the first section, detailing Chandler’s project, come alternating sections about the Devil House murders and one of Chandler’s previous books about another case, The White Witch murders. ![]()
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