A COLD SEASON by Alison Littlewood

a-cold-season1 A COLD SEASON

Alison Littlewood (www.alisonlittlewood.co.uk)

Jo Fletcher Books (www.jofletcherbooks.com)

[Also published as a signed limited edition hardcover by PS Publishing (www.pspublishing.co.uk)]


Following the death of her husband in Afghanistan, Cass decides to start anew. Packing up her son, Ben, she heads for the small village of Darnshaw, nestled in the Yorkshire Moors, where she has rented an apartment in the recently-refurbished mill. As they settle in, the snows start to fall and Cass, now trapped, discovers she may not be as welcome as she had hoped; there is something not quite right with this community. As Ben grows more distant and becomes abusive, she discovers that normality exists in the form of Mr Remick, the stand-in headmaster at Ben’s school, a man for whose charms she quickly falls. Isolated and alienated, Cass quickly realises that the move to Darnshaw may not have been the best idea, but with the weather closing in, the roads impassable and the phone lines down, there isn’t much she can do.

How do you measure the success of a good horror novel? For me, it’s not in nightmares, or in hours of lost sleep, but in whether I need to turn on all the lights to walk around the house at night. I like my horror to be subtle, creepy and insinuating, from the school of so-called “quiet horror”. A Cold Season, Alison Littlewood’s first novel, is most definitely “quiet”. As we arrive in Darnshaw with Cass and Ben, there is an immediate sense of wrongness, nothing that we can put a finger on, but something slightly odd all the same. Littlewood builds on this feeling and, as the snow falls and the chances of leaving the village rapidly evaporate, there is a sense of claustrophobia that, when coupled with little details – the downstairs apartment with no windows, for example, and the dolls lying in the dust of that apartment’s floor; the build-up of newspapers under the door of the supposedly empty apartment across the corridor from her own – leave the reader feeling uncomfortable and on edge.

In Cass, Littlewood has created the perfect heroine: a woman with a troubled past trying to do the best for her son in extenuating circumstances. Most of the women in the village seem to take an instant dislike to her, seemingly jealous of her fast friendship with Mr Remick. Cryptic messages from the elderly Bert, and the increasingly odd behaviour of her son are early indications for the reader that all is not well in the village of Darnshaw, while Cass continues to convince herself that nothing is amiss and that her son’s odd behaviour is down to a combination of the loss of his father, and the bad crowd into which he seems to have fallen.

It is easy to see Littlewood’s influences as the novel progresses: there is a Stepford Wives vibe here in the attitudes of the local women towards Cass, and something of John Wyndham’s The Midwich Cuckoos in the behaviour of the village children. There are also more-obvious homages to at least two other classics of horror fiction, but the mere mention of their titles would constitute massive spoilers. A Cold Season is as beautifully-constructed as any of them, and is a wonderful addition to a fine tradition of horror writing. The old-fashioned feel is helped along by the lack of mobile phones – surely the bane of every horror and thriller writer producing fiction set in the modern world; the remote location and the bad weather conspire to ensure that there is no mobile phone signal, and we suddenly find ourselves in a different time, playing by different rules. It’s also worth pointing out that what Stephen King’s IT did for clowns, and countless books and films over the years have done for porcelain dolls, A Cold Season does for snowmen in a scene that, taken by itself, is worth the price of admission.

Littlewood’s first novel is an assured and finely-crafted piece of work, probably the best horror debut since Joe Hill’s 2007 novel, Heart-Shaped Box. It brings the promised scares without resort to nasty tricks or gore, and proves that it is still possible to write engaging, entertaining horror fiction without zombies or vampires. Earlier I wondered how you measure the success of a good horror novel. I’m not ashamed to admit that our house has been lit up like a Christmas tree for most of the past week; it’s a rare novel these days that can bring the creep factor to a hardened horror fan like me, but this succeeds admirably where so many others have failed. If you are in any way a fan of horror fiction, and have not yet done so, you need to read A Cold Season. Just make sure you know where the light switches are.

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