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mxsallybend's review against another edition
5.0
Like many fans, I entered into The Scarlet Gospels with significant expectations. Not only is it Clive Barker's first novel for adults since 2007, it's one he's been teasing since 1993. Over the course of those 20+ years it's grown from just another short story destined for a new Books of Blood collection to a massive 232,000 word epic, before being edited back down to the 100,000 word final book. That means, of course, that more than half the story has been edited out of the final text, including many of the scenes Barker himself has teased. There's no Joseph and the Holy Grail to be found in its pages; no first encounter between Pinhead and a 12 year old Harry D'Amour; and no conversation between Harry and Jesus, discussing the subject of suffering, and remarking on how Pinhead's nails are akin to his crown of thorns.
While I would have loved nothing more than to immerse myself in another Imajica-length door-stopper, I'm actually glad none of those scenes are to be found here. This is Pinhead's story. This is the story of Hell. There's no room in it for the 'other side' to tell their story. Similarly, with Harry serving more as witness here than epic hero, it's simply not important for him and Pinhead to have ever met . . . and the story works better for it.
The Scarlet Gospels is the dark, bloody, brutal, magnificently epic horror novel we've needed from Clive Barker for so long. If you've worried that absence may have made the heart grow softer, or that he'd have trouble getting back into the blood after so long spent in the Abarat, then fear not. This is a book that's influenced by his entire career, seamlessly meshing the sadomasochistic brutality of The Hellbound Heart with the epic mythology of Weaveworld, while incorporating the same depth of character we found in Sacrament. More than that, after the somewhat sterile novella that was Mister B. Gone, Barker has recaptured the power of his narrative voice, marking a return to the kind of storytelling where you're compelled to linger over every word.
The first third of the novel is a contemporary horror story, full of magic, ghosts, demons, and monsters. It serves to establish Pinhead as more than just another opportunistic Cenobite answering the call of Lemarchand's box, establishes Norma Paine as a friend for whom Harry D'Amour would willingly go to Hell to save, introduces Harry to the horrors of Lemarchand's box, and introduces Pinhead to the one mortal worthy of being considered a true adversary. It's dark and it's violent, but there are also some strong touches of humor, especially with the banter between Harry and his crew.
Once the story shifts to Hell, however, it's a whole different story. Pinhead's march through the streets of Hell and into the Monastery of the Cenobitic Order is some fantastic stuff, with images that linger with the reader long after the cover is closed. Barker describes it as an immense fortress of sadomasochistic solitude, built over seven hundred thousand years ago to isolate its priests from the politics of Hell. There's a confrontation here that allows Pinhead to put his grand scheme into motion, with bespelled origami birds, deathly plagues, and a fog the likes of which has never been seen before. Following that we have a suitably epic journey across the landscape of Hell, taking us through the cities of the damned, a wilderness of dead trees, and across a lake haunted by a monstrous force of pure hunger and malevolence - all to reach the hidden, secret fortress of Lucifer himself.
If I were to have one minor complaint about the novel, it's that this really isn't the 'Pinhead versus Harry' tale that we were promised. While Harry undertakes his epic journey for the noblest of reasons, entering Hell itself to save Norma's body and soul, it turns out he's really only been drawn there to witness Pinhead's grand plan. The two do have their confrontations, and they are brilliantly entertaining, but Harry has absolutely no hand in Pinhead's fate. Fortunately, by the time we get to the end of the novel, we've already come to realize that his is Pinhead's story (not Harry's), and when a creature of such monstrous cruelty is striving to do no less than overthrow Lucifer's throne . . . well, he deserves a foil even greater, even more mythic, than the Cenobite himself.
As works of epic mythology go, The Scarlet Gospels is absolutely magnificent. At this point, it's hard to add much to the story of Hell, but Barker succeeds brilliantly. It's absolutely breathtaking the way he just keeps upping the tension and expanding the scope, adding layer upon layer to the horror, even as he takes us deeper and deeper into Hell. The final set piece is . . . well, there's not much I can say about it without spoiling the story, but it's one of the finest Barker has ever created. The finale may leave some readers feeling a little unsettled, especially with the odd sort of epilogue (with it's entirely self-indulgent, yet gloriously satisfying confrontation with a wealthy preacher), but so long as you remember this is Pinhead's story, it all works.
Originally reviewed at Beauty in Ruins
While I would have loved nothing more than to immerse myself in another Imajica-length door-stopper, I'm actually glad none of those scenes are to be found here. This is Pinhead's story. This is the story of Hell. There's no room in it for the 'other side' to tell their story. Similarly, with Harry serving more as witness here than epic hero, it's simply not important for him and Pinhead to have ever met . . . and the story works better for it.
The Scarlet Gospels is the dark, bloody, brutal, magnificently epic horror novel we've needed from Clive Barker for so long. If you've worried that absence may have made the heart grow softer, or that he'd have trouble getting back into the blood after so long spent in the Abarat, then fear not. This is a book that's influenced by his entire career, seamlessly meshing the sadomasochistic brutality of The Hellbound Heart with the epic mythology of Weaveworld, while incorporating the same depth of character we found in Sacrament. More than that, after the somewhat sterile novella that was Mister B. Gone, Barker has recaptured the power of his narrative voice, marking a return to the kind of storytelling where you're compelled to linger over every word.
The first third of the novel is a contemporary horror story, full of magic, ghosts, demons, and monsters. It serves to establish Pinhead as more than just another opportunistic Cenobite answering the call of Lemarchand's box, establishes Norma Paine as a friend for whom Harry D'Amour would willingly go to Hell to save, introduces Harry to the horrors of Lemarchand's box, and introduces Pinhead to the one mortal worthy of being considered a true adversary. It's dark and it's violent, but there are also some strong touches of humor, especially with the banter between Harry and his crew.
Once the story shifts to Hell, however, it's a whole different story. Pinhead's march through the streets of Hell and into the Monastery of the Cenobitic Order is some fantastic stuff, with images that linger with the reader long after the cover is closed. Barker describes it as an immense fortress of sadomasochistic solitude, built over seven hundred thousand years ago to isolate its priests from the politics of Hell. There's a confrontation here that allows Pinhead to put his grand scheme into motion, with bespelled origami birds, deathly plagues, and a fog the likes of which has never been seen before. Following that we have a suitably epic journey across the landscape of Hell, taking us through the cities of the damned, a wilderness of dead trees, and across a lake haunted by a monstrous force of pure hunger and malevolence - all to reach the hidden, secret fortress of Lucifer himself.
If I were to have one minor complaint about the novel, it's that this really isn't the 'Pinhead versus Harry' tale that we were promised. While Harry undertakes his epic journey for the noblest of reasons, entering Hell itself to save Norma's body and soul, it turns out he's really only been drawn there to witness Pinhead's grand plan. The two do have their confrontations, and they are brilliantly entertaining, but Harry has absolutely no hand in Pinhead's fate. Fortunately, by the time we get to the end of the novel, we've already come to realize that his is Pinhead's story (not Harry's), and when a creature of such monstrous cruelty is striving to do no less than overthrow Lucifer's throne . . . well, he deserves a foil even greater, even more mythic, than the Cenobite himself.
As works of epic mythology go, The Scarlet Gospels is absolutely magnificent. At this point, it's hard to add much to the story of Hell, but Barker succeeds brilliantly. It's absolutely breathtaking the way he just keeps upping the tension and expanding the scope, adding layer upon layer to the horror, even as he takes us deeper and deeper into Hell. The final set piece is . . . well, there's not much I can say about it without spoiling the story, but it's one of the finest Barker has ever created. The finale may leave some readers feeling a little unsettled, especially with the odd sort of epilogue (with it's entirely self-indulgent, yet gloriously satisfying confrontation with a wealthy preacher), but so long as you remember this is Pinhead's story, it all works.
Originally reviewed at Beauty in Ruins
bb42's review
Cartoonish, awkward, and disappointing. I love The Hellbound Heart, but find that Cenobites are more effective the less you know about them. Political struggles in Hell? Not what I'm looking for when I start to play with the puzzle box. Haven't read any D'Amour material, but what was presented in the first half of this book sure isn't sending me desperately hunting.
It started strong, thought it was going to be amazing, but it all went to hell when it, um, went to hell. :)
It started strong, thought it was going to be amazing, but it all went to hell when it, um, went to hell. :)
nilocennis's review against another edition
1.0
Why is it so hard to tell a good Hellraiser story?
After a banger opening scene, and a very cool pitch of "noir detective fights Pinhead", the book transforms into a colossal mess about 1/3 of the way in, with all of the imagery you'd expect from Barker, but none of the Gothic horror, language or-most importantly-mystique that you'd want from this kind of book.
Super messy and incredibly disappointing. There's a fifty-page sequence that feels like pure noise. I'm honestly surprised that Barker was capable of something this poor. I don't know what happened.
After a banger opening scene, and a very cool pitch of "noir detective fights Pinhead", the book transforms into a colossal mess about 1/3 of the way in, with all of the imagery you'd expect from Barker, but none of the Gothic horror, language or-most importantly-mystique that you'd want from this kind of book.
Super messy and incredibly disappointing. There's a fifty-page sequence that feels like pure noise. I'm honestly surprised that Barker was capable of something this poor. I don't know what happened.
exterminans27's review against another edition
2.0
I wanted to like it, but it just isn't a very good book at all. The dialogue is some of the worst I have probably ever read. The characters are a bunch of unlikable edgelords and the constant pointless descriptions and mentions of sexual organs give it a feeling like it was written by an immature teenager who wants to desperately shock his conservative parents. It's not shocking, it's not scary, it's just stupid and made me roll my eyes everytime.
All of those issues could maybe be forgiven however, if it wasn't for the fact, that the story just isn't very interesting at all. It never managed to capture me and I really had to force myself to even finish it.
All of those issues could maybe be forgiven however, if it wasn't for the fact, that the story just isn't very interesting at all. It never managed to capture me and I really had to force myself to even finish it.
agus_gm's review against another edition
2.0
Otra decepción más a la saca, seguramente alimentado por las 5 estrellas que le puse a Hellraiser y esperaba encontrar aquí algo parecido.
Las semejanzas son bien pocas... Pinhead como personaje en común, algún que otro cameo de cenobitas y la famosa caja de Lemarchand.
Eso sí, en cuanto a gore, grotesco y desagradable lo ha superado cómodamente.
El libro empieza muy bien y enganchando al lector con una aparición de Pinhead magistral, pero de ahí en adelante es como un tornillo en una rueda. Va perdiendo aire poco a poco casi sin darte cuenta hasta que llega el momento en que te encuentras con la llanta en el suelo, como el interés por continuar leyendo.
Lo he terminado por respeto a Hellraiser y con esperanzas de encontrar de nuevo lo que vine buscando, pero nada. Alguna escena interesante que solo conduce a un final que ni fu ni fa. Aquí termina mi aventura con Clive Barker y mi cabezonería por reconciliarme con él mediante alguna de sus novelas.
De momento dejamos de ser amigos... el futuro dirá.
Las semejanzas son bien pocas... Pinhead como personaje en común, algún que otro cameo de cenobitas y la famosa caja de Lemarchand.
Eso sí, en cuanto a gore, grotesco y desagradable lo ha superado cómodamente.
El libro empieza muy bien y enganchando al lector con una aparición de Pinhead magistral, pero de ahí en adelante es como un tornillo en una rueda. Va perdiendo aire poco a poco casi sin darte cuenta hasta que llega el momento en que te encuentras con la llanta en el suelo, como el interés por continuar leyendo.
Lo he terminado por respeto a Hellraiser y con esperanzas de encontrar de nuevo lo que vine buscando, pero nada. Alguna escena interesante que solo conduce a un final que ni fu ni fa. Aquí termina mi aventura con Clive Barker y mi cabezonería por reconciliarme con él mediante alguna de sus novelas.
De momento dejamos de ser amigos... el futuro dirá.
tasharobinson's review against another edition
2.0
I've reached the point where the arbitrariness of Clive Barker's writing bothers me more than the wallowing in gore and the genital/anal fetish that has him repeatedly describing demons with body-length vaginas, or torture victims being pulled inside out through their own rectums, or whatever. So much of what happens in this book follows no particular sense of weight or meaning or myth: Characters kept alive through impossible odds for half the book die unspectacularly and abruptly, characters charge ahead on quests that seem to have occurred to them on the moment, and the universe is constantly shown to be a hideously ugly, yet exhaustingly random place. There's so little sense of anything that happens following from what happened before: as with the Abarat books, there's just always a new character being introduced, and the characters staggering forward to some new place where some preposterously ugly carnage, described in lavish and loving detail, is ready to take place. I recently read Barker's Books Of Blood for the first time, and it was astonishing to me what a terrific writer he is when he's working on one idea, in a contained length. The sprawl of this book mostly just makes room for more elaborate eviscerations, and a plot that plods all over Earth and hell.
Oh, and spoiler alert: the damsel in distress Harry D'Amour and his friends spend literally half of the book trying to rescue from hell gets casually raped to death. Offscreen. By Pinhead. For no apparent reason, and even though he's never seemed like a creature with functioning genitals or a sex drive. And he doesn't even come up with a reason, even though we spend huge chunks of the book getting his baroque explanations for things. And she survives just long enough to gasp out a noble "It's okay, it was my time" heartfelt goodbye to her friends. Maddening. And arbitrary, and gross.
Oh, and spoiler alert: the damsel in distress Harry D'Amour and his friends spend literally half of the book trying to rescue from hell gets casually raped to death. Offscreen. By Pinhead. For no apparent reason, and even though he's never seemed like a creature with functioning genitals or a sex drive. And he doesn't even come up with a reason, even though we spend huge chunks of the book getting his baroque explanations for things. And she survives just long enough to gasp out a noble "It's okay, it was my time" heartfelt goodbye to her friends. Maddening. And arbitrary, and gross.
avalin1's review against another edition
adventurous
dark
medium-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
3.0
lipsandpalms's review against another edition
4.0
The character descriptions and actions are very explicit in more way than one. I found the use of the main characters mystical tattoos as a signal of danger he couldn't fully comprehend to be a great device to signal danger while still making Henry feel inexperienced.
The narration generally jumped between a few vehicles and this is fine but I think maintaining an observer outside of Pinhead himself would have better maintained the mysticism surrounding his legend.
Pinhead seemed slightly out of character at times when it was convenient for the plot but still as brutal as ever. My only experience with this character outside of the films is in The Hellbound Heart where he's not nearly as fleshed out as he is here, no pun intended.
The narration generally jumped between a few vehicles and this is fine but I think maintaining an observer outside of Pinhead himself would have better maintained the mysticism surrounding his legend.
Pinhead seemed slightly out of character at times when it was convenient for the plot but still as brutal as ever. My only experience with this character outside of the films is in The Hellbound Heart where he's not nearly as fleshed out as he is here, no pun intended.
shadowhelm's review against another edition
3.0
I don't do well with rating books. Either I like it or I don't like it and occasionally I love it. I suppose a 3 star system would work better for me. In this case I am in the like it category. I didn't hate it but it failed to be the book I had hoped it would be. I think it will only appeal to fans of The Hellbound Heart and the "Hellraiser" mythologies although it is written as a mostly stand alone novel and knowledge of the characters is not necessary. It is certainly not the book I would recommend to someone not already familiar with Clive Barker.