A review by henrygravesprince
Midnight on Beacon Street by Emily Ruth Verona

emotional mysterious tense fast-paced
  • Plot- or character-driven? Character
  • Strong character development? Yes
  • Loveable characters? Yes
  • Diverse cast of characters? Yes
  • Flaws of characters a main focus? Yes

5.0

In the interest of full disclosure, this review is specifically regarding a DRC copy of the book from Net Galley, so while I imagine this eBook was relatively close to finalized, some details may have been changed between my copy and the official release.

I’m very pleased to say this is a 5-star read for me and has become one of my favorites. Not only am I excited to see what Verona writes in the future and interested in checking out her other work, I immediately preordered the audiobook of Midnight on Beacon Street after I finished reading the ARC and will be rereading it ASAP upon publishing. I would recommend this book to people who have a deep love for the horror genre, particularly horror film, especially those who approach the genre from a feminist analytical lense. The strongest aspect of this novel is the character work: even the briefest glimpses we get of characters is effective in establishing who they are, and each character feels very meticulously crafted to feel genuine and real. After thinking on it deeply, I think the weakest aspect is the length: while it’s perfectly paced and doesn’t drag on too long, I would have loved it to be a little longer and to flesh out some smaller details a little more. I honestly don’t think I have any feedback for how this book could be improved, because frankly, it was an instant love for me—which isn’t something I find in books often, so I’m both very taken with it and stumped on how to weigh this particular aspect of the review. 

I loved the character dynamics at the core of the book, especially those between Amy and the children she’s babysitting, Mira and Ben. The different dynamics between each of them—Amy and Ben’s bond as anxious people who tend to acquiesce; Mira’s reluctance to let Amy in and Amy’s determination to do right by her; Mira and Ben’s complicated sibling dynamic that is ultimately founded on love and protection—resonate so well throughout this book and develop in ways that feel natural. Furthermore, Amy, Mira, and Ben were incredibly memorable, as were less-prominent characters like Sadie, Amy’s former babysitter, and Eleanor, Mira and Ben’s mother. Even Mr. Darren, who appears very briefly in the book, feels lived in and lifelike. The characterization is not just strong, but also vivid: the main and recurring characters are well-rounded and consistent. The author did a great job at constructing scenes to illustrate the broad idea of, and eventually the subtleties of, the cast.

I think every aspect of this novel, not just every scene or chapter, pulls its weight. No detail is wasted: everything ties into the big picture somehow, and that includes the nuances of each character. The portrayal of Judaism in particular feels very intentionally crafted with care. The author’s dedication to weaving the Mazinski’s Jewish identity into the framework of the narrative was masterful, lending a lot of depth to the characters. You can feel the love and intention in this book, from the characters, to the setting, to the choices of references the author makes. The narrative is well-crafted and readable, tied together with evocative prose, striking characters, and a tight, coherent plotline. The exposition is concise and sprinked throughout the book, expertly building up and out the world the characters live in.

Description in Midnight on Beacon Street is elegant and poetic without being daunting. The imagery is evocative, and the metaphors are strong. There’s a good balance between dialogue and narrative prose, neither one ever noticably overwhelming a scene. Word choice comes across as very deliberate, ultimately coming off with a sense of stylishness without sacrificing readability. There’s no over- or under-writing to be found here. I think one of Verona’s most noticeable skills on display is giving everything just the right attention to detail, whether a lingering detail or a subtle, passing one. 

This novel is paced well, quick while making great use of the time it has. It reminds me of older horror movies, 70s and backwards, that don’t waste your time or rush you through the building blocks of its atmosphere. The narrative structure is effective: I love non-linear storytelling, and have wrestled with its difficulties in my own work. For that reason, I admire authors who can not only commit to non-linear storytelling but also do it well, and Verona’s usage of it in this novel is a fantastic example. It adds to the novel rather than bogging it down, working with the pace rather than against it.

The transition between chapters is succinct and forward, telling us the date and time in relation to midnight of the day that most of the novel centers around. Similarly, shifts in point of view were clear and consistent, alternating chapter to chapter, each one being anchored in the point of view of Amy or Ben. Character voice was a strong aspect of this novel to me, not just in the dialogue, but in the narration itself. The stylish clarity of Verona’s prose is present throughout the book, but in their respective chapters, Amy and Ben’s voices shine through, too.

The major narrative throughline to me here was the insecure concept of safety: how safe and secure is the home, really? How is a teenage babysitter supposed to be equipped with the tools and wherewithal to protect children if something terrible happens? How do we make ourselves feel safe and handle our fears? That, in particular, is communicated in an incredibly powerful way: we see the manner in which each character tries to make themselves feel safe and find power over their fear. As someone who struggles with severe anxiety and loves horror because, in a lot of ways, it gives me a sense of control over the emotion of fear, I related to Amy a lot. We also see how Ben makes himself feel secure and protected through the recurring references to the mezuzah, and how Mira utilizes the concept of fear to keep herself and her family safe.

Overall, I had a fantastic time reading this book. The first time Amy referenced Debra Hill, I whooped: that was when I knew this book would be genre-savvy in a genuine way as opposed to a surface-level one. Hill was equally as responsible for the Halloween ‘78 we know and love as John Carpenter, but her name is frequently forgotten in pop-culture discussions of Halloween, especially ones that aren’t necessarily coming from the horror community. I have a lot of love for Carpenter, but namedropping Debra Hill first feels like a way of giving Hill her dues. It makes a statement of love for the genre, its history, and for the feminist and critical analysis that has spawned from it. The love and respect for the genre and for the women of horror—on screen and off—sings from every page. I could go on and on about all of the things I love about this book. I’m incredibly thankful that I was approved for the ARC of this book and that I decided to request it on whim because I loved the cover. It’s like catnip for me.
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