I’d like to thank the reviewers who consistently support my books and who came out swinging for Lost Girl – a novel about different kinds of horror: Jim McLeod and Kit Power of ‘Ginger Nuts of Horror’, Sean Kitching at ‘The Quietus’, SFX, Charlie Oughton and SciFiNow, Slash, Eric Brown at the Guardian, David Mitchell at the Independent, James Lovegrove at the Financial Times, Fred McNamara at Starburst, Sapient at ‘Pop Mythology’, Pablo Cheesecake at ‘The Eloquent Page’, Dirge Magazine, Anthony Watson of ‘Dark Musings’, Des Lewis at ‘Dreamcatcher: Gestalt Real-Time Reviews’, Pam Norfolk at the Lancashire Evening Post, Marie O’Regan at ‘SciFi Bulletin’, Alex Cluness and all at Literature Works, Tor.com, Theresa Derwin and ‘Terror Tree’, Maxine Groves, Sheila M. Merritt at Diabolique Magazine, Upcoming4.me, Carrie Buchanan at ‘Horror Blog’, ‘Steph’s Book Blog’, Nathan Ballingrud, Ted E. Grau, F. R. Tallis, Jason Arnopp, Gary Fry, Gary McMahon, Mark Morris, Rich Hawkins, Patty Dohle, Matthew Fryer, Jonathan Wood, Diala Atat and Ruba Naseraldeen at the Dubai Reading Group, the British Fantasy Society, Sci Fi Weekender 7, Nightmare, John Connolly, Brian J. Showers, Paul Melloy, Mathew Riley, Toby Clarke, and all of my mates and the sharers on social media.
Finally, I want to project my gratitude to the readers who have hindered in my sphere, and who have followed my terrors this far, and also to those who are only beginning their association . . .
LOST GIRL
How far will he go to save his daughter?
How far will he go to get revenge?
It’s 2053 and runaway climate change has brought civilization to the brink of collapse. Billions are threatened with starvation, and mankind is slowly moving north in a world stricken by war, drought and superstorms – easy prey for the pandemics that sweep across the globe. Easy prey, too, for the violent gangs and people-smugglers who thrive in the crumbling world where King Death reigns supreme.
The father’s own world went to hell two years ago. His four-year-old daughter was snatched from his garden when he should have been watching her. The moments before her disappearance play in a perpetual loop in his mind, as do nightmarish fantasies of who took her, and why. But the police are preoccupied. Amidst the worst European heatwave on record, a refugee crisis and the coming hurricane season, who cares about one more missing child? Now it’s down to him to find her, even if it means going to the worst places imaginable, to do the unthinkable . . .
‘Nevill ornaments his tale of brutality and bloodshed with florid Gothic prose . . . There’s acute psychological insight amid Lost Girl’s squalid inferno, and the author’s vision of our near future is horribly plausible’
Financial Times
NO ONE GETS OUT ALIVE
Darkness lives within . . .
Cash-strapped, working for temping agencies and living in shared accommodation, Stephanie Booth feels she can fall no further. So when she takes a new room at the right price, she believes her luck has finally turned. But 82 Edgehill Road is not what it appears to be.
It’s not only the eerie atmosphere of the vast, neglected house, or the disturbing attitude of her new landlord, Knacker McGuire, that makes her uneasy – it’s the whispers behind the fireplace, the scratching beneath floors, the footsteps in the dark, and the young women weeping in neighbouring rooms. When Knacker’s menacing cousin Fergal arrives, the danger exceeds her darkest imaginings.
But this is merely a beginning, a gateway to horrors beyond Stephanie’s worst nightmares. And in a house where no one listens to the screams, will she ever get out alive?
‘Adam Nevill has forged his reputation as one of the UK’s best horror writers by writing elegantly stripped down, deceptively simple novels. No One Gets Out Alive starts off as a similarly pared back take on the ghost story, but blossoms into something much grander in scale’
SFX
THE RITUAL
In the forests of Scandinavia, an ancient presence starts its nightmare hunt once again . . .
Four old university friends reunite for a hiking trip in the Scandinavian wilderness of the Arctic Circle. No longer young men, they have little left in common and tensions rise as they struggle to connect. Frustrated and tired, they take a shortcut that turns their hike into a nightmare that could cost them their lives.
Lost, hungry and surrounded by forest untouched for millennia, they stumble across an isolated old house. Inside, they find the macabre remains of old rites and pagan sacrifices; ancient artefacts and unidentifiable bones. This place of dark ritual is home to a bestial predator that is still alive in the ancient forest. And now they’re the prey.
The four friends struggle toward salvation, but death doesn’t come easily among these ancient trees . . .
‘This novel grabs from the very first page, refuses to be laid aside, and carries the hapless reader, exhausted and wrung out, to the very last sentence’
Guardian
‘Horrifyingly scary . . . Nevill sinuously ramps up the tension’
Sunday Times
LAST DAYS
Winner of the August Derleth award for Best Horror Novel
They never let you go . . .
In 1975, a massacre took place in the Arizona desert which shocked the world. The Temple of the Last Days, a cult whose rumoured mystical secrets and paranormal experiences lay concealed behind a history of murder, sexual deviancy and imprisonment, came to a bloody end after a night of ritualistic violence. Now their story wants to be told.
Kyle Freeman is an indie film-maker with no money and few options, so when he lands a commission to make a documentary about the sinister cult and its mysterious leader, he jumps at the chance.
As he travels from London to France and then Arizona, tracing the path of the Temple of the Last Days, uncanny events, out-of-body experiences, ghastly artefacts and nocturnal visitors plague him. Finally he discovers the terrible secrets the cult died to protect – but is it too late to escape their hideous legacy?
‘The British horror master’s fourth novel sees him in top form with intelligent storytelling, an authentic, authoritative voice, and myth-building akin to Clive Barker at his most ambitious’
Rue Morgue