Last Days Paperback – February 26, 2013

Ask a handful of people for their surface observations of a given decade and often they’ll state many of the same events and fads. Even the tech-obsessed millennials can provide a reasonably accurate description of what a hippie was. What disco sounds like or why a mirrored ball was suspended above the strange dances that accompanied it. But history has a way of neatly secreting away the more displeasing cultural disturbances of a given time period. High profile murders often secure some measure of immortality, and after them, every cult leader is a Jim Jones or a Charles Manson. But what of the others, those groups that didn’t make the evening news or rack up high enough of a body toll to merit media scrutiny? Last Days is a well-researched and chilling account of such a fictional cult. More specifically, Nevill’s “Temple of the Last Days” is a representative recreation of one of the 70’s transcendental and enlightenment movements that promiscuously borrowed various Eastern philosophies and perverted their doctrine until a central figurehead could assert control over their supplicants. Before ever unleashing the horrors of the abyss, Nevill unveils the aftermath of the survivors of a cult which met its final end in a massacre/suicide in the Arizona desert. Gripping attention to how trauma continually victimizes those once involved invests the reader from the beginning, signaling the ride ahead will not be pleasant. Last Days takes its name from a fictional autobiography referenced in the novel by one of the many True Crime titles that cover such events. Skilled but financially challenged Kyle and his best friend Dan take an assignment by a reclusive producer to investigate a long-dead cult of the 1970’s—once called the Gathering, then later the Temple of the Last Days. Specializing in occult and outré documentary, Kyle readily accepts the offer, and a tight schedule of shooting is set to interview key figures and survivors of the cult. Nevill wastes no time with speculation; soon after their first interview with one of the cult members, Kyle and Dan encounter a series of chilling experiences in a property that served as the cult’s first house. Skepticism becomes debate, and soon debate falls away as panic sets in. Alien dreams invade intrepid Kyle, and the accumulative effects of insomnia and persistence wear down his sanity fast. As with all of Nevill’s work I have read, a deeper theme is lurking in Last Days. One might struggle to draw comparisons between the end of The Summer of Love and Facebook, between Jim Jones and reality television. As their continued efforts aggravate and imperil the survivors they interview, Kyle feels the effects of their suffering seep into his own soul. He personalizes the senselessness of cults, the human need for self-identification and acceptance, and the parade and endless comparison of one’s own status to that offered by others on social media. During a rant, Kyle defends his growing misanthropy to Dan: “Kyle shook his head where he lay on the floor, staring at the polystyrene ceiling tiles. ‘So many of them thought they had an audience. They were performing. Because everyone thinks they’re on stage these days. The Show Of Me, mate. Facebook. Twitter. Twitter my arse. Mobile phones? Eh? They’re not for communicating, they’re for broadcasting. Broadcasting The Show Of Me. We are an audience to every s***head with an iPhone. I can’t turn on the telly without some silly bitch with big teeth showing off.’” (Nevill 320). Kyle is referencing the assembled behavior of individuals who think the documentarians have the lock on them, but he speaks a greater truth: the loss of human interaction in the vain attempt to transcend a normal existence is the result of such misused technology. Furthering this point, Kyle remarks: “But this out here. It’s {The cult/their murder/suicide} like the distillation of it all. Where it really took hold. In the sixties. I can see that. Manipulative shysters. Naïve people desperate to believe in something, in someone, to be someone. Any different now? Who wants to be ordinary? Eh? No one, that’s who. Everybody’s got to be singing or dancing or drawing attention to themselves. For what? Is there really any talent involved in any of it? Anything meaningful? (Nevill 321). (SPOILERS AHEAD) The disaffected documentarian continues on in an all-or-nothing stakes bid to remove an ancient evil attempting to reincarnate for the second time. A fascinating origin to Sister Katherine (the cult leader) is provided by an art historian and further connected by Max, the producer/cult survivor. Kyle and Dan never stood a chance to slither out from the specters they hunt with their cameras, and the reader is provided an illuminating look at how documentary and filmmakers perform their craft. Like The Ritual, Nevill has a way of creating the outdoors on the page that puts the reader in them. Every sound, every texture underfoot, every smell is given deliberate care. In his hands, a sunset is the promise of torment, a sunrise the vestigial recognition a broken character sees as hope. Consider just one line describing a character’s reticence to act and fear: “And Kyle experienced the urgent need to visit the toilet for the immediate expulsion of everything inside him not attached to bone or muscle.” (Nevill 488). The internet is “that Wild West of disinformation and fraud, that infinite sea of piracy, the great electorate where the constituency of billions voted their approval with the click of a mouse.” (Nevill 443). Never are character’s “frozen in horror” or “too scared to move.” Nevill’s prose is tight and clean, often luring the reader back to reread the previous passage in sheer amazement (well, this writer does anyhow). He is consistent with pace, handles backstory flawlessly and organically, and never do I find myself skipping forward a few pages to see how many are left in a chapter. More often, I’m pissed that I’m almost out of book to read! I recommend Last Days to any fan of supernatural horror, True Crime stories, suckers for 60’s and 70’s culture, and those individuals (myself included) who share a disdain for the rapid information age, the seamless broadcast of bulls*** that plagues and chokes up our expectations with false messiahs and impotent longings. Like the brainwashed cultists of The Temple Of The Last Days, those defiant few who step back to engage the real world and discard their iPhones long enough to search for self-worth will find it where they should have looked in the first place. Within themselves.

I loved the exploration of a mysterious cult through characters making a documentary. The mystery and horror elements were done well. However, the book was too long. The main characters inner monologue and the descriptions of settings not relevant to figuring out the mystery of the cult bogged down the story.

I found some exceptional things in this book. There was good pacing, great character development, and eerie scenes. The plot was original and interesting. However, I often found myself dreading parts of the book I knew were going to needlessly go on an on in over-detail. I was never eager to get back to the book, which was unfortunate because at it's core it is a good book and a pretty creepy horror entry. It seemed tedious at times and scenes were poorly paced. Nevertheless, reviews seem to indicate many like this and I respect that my wants/desires in a horror novel may be different than others. So it's definitely worth a read if this is your genre. But if you don't have a lot of patience it may certainly frustrate you at times.

I’ve been a fan of Adam Nevill since The Ritual.This book didn’t disappoint as well. Nevill’s storytelling is unmatched, and he has a genuine talent for visceral and unsettling imagery.The protagonist here is one Kyle Freeman, who has been hired to make a documentary about a cult known as the Temple of the Last Days. The cult gained notoriety in 1975 after its leader and others were murdered. The project takes Freeman to London, France, and then Arizona.As Freeman films the locations and interviews former cult members, he and his colleague begin to experience strange phenomena. Even more disturbing, the interviewees keep dying. It isn’t long before Freeman learns the cult’s true nature.This book is downright frightening. It is exactly the kind of cerebral horror that I enjoy. Nevill doesn’t rush you through the story. He takes the time to build up the cult’s details. The characters are believable and well-rounded. The author’s descriptive writing thoroughly immerses the reader in Freeman’s mounting dread, and eventual terror.I highly recommend this book. Nevill is a master of his craft.

That second half was a bit disappointing but still entertaining. The first half was pretty scary and I really liked it.

The pacing of this book can be a bit slow, but much of its horror can be found in the details. Extremely spooky, though not particularly gory. Love the fresh concept and how the dread builds throughout the story. I have seen some complain about the tone and action of the ending; however, I enjoyed the change of pace. Overall, an excellent read for those interested in supernatural, cult-based horror.

I love Neville’s style. When he describes a sight, sound or smell I can see, hear and smell it. His stories are great. I can’t wait to read another.

A well told tale about cults and rituals. You can tell the author did his share of research for the story, we get a boat load of details about cults and how to film it. Sometimes a bit heavy handed on the details but it does give a feel of authenticity. I can honestly say that this tale has invaded my dreams and waking world. Hearing barking dogs brings me back to this book. If a book can do that to you, then I guess the author did his job. Well done.

Seriously so good. Came fast and in good condition. Book is amazing

I read it in three days, I liked the style...all the talk about what Kyle felt etc. reminded me of Dostoevsky in some way. Not a typical horror...felt like I was watching an english movie...the man knows how to write scenes...I enjoyed this work.

Intens en heel leuk verhaal.. Ik kan dit boek amper neerleggen.. Heb alvast de andere boeken van deze schrijver op mijn lijstje staan! Aanrader!

"Last Days" by Adam Nevill is a fine novel. I like reading books about horror, occult and the paranormal. Although I get spooked very easily but I can't say I've had my fill of horror novels and stories; no, not yet. I still remember reading "The Ritual" written by the same author, I was shocked and lost my normal life for days together!! Thank you, Amazon.

As part of my ongoing, continuing mission to read all of Adam Nevill's novels in published order, I come to last Days, which was the novel I believe I first started to really hear amazing things about this writer. I was always aware of him, having bought all of his books as they came out, yet had never managed to start one (don't ask me why, my reading habits are arbitrary and sporadic at best). Yet having read three of his books prior to this, and enjoying each one very much (with The Ritual being both a particular favourite and, I feel, a huge leap forward in an already talented writer's abilities and vision), and with the aforementioned growing praise, I was very much anticipating this particular work.The plot is, on the surface, pretty basic; an independent film-maker (comprising only of himself, a cameraman and a 'studio'-bound editor) is asked by a film company to create an historical documentary concerning a notorious cult form the 70s. Part of the contract involves visiting specific and relevant locales around the globe, and also a large payment/advance. Being financially in the red, the young film-maker - Kyle - agrees, while at the back of his mind is the suspicion that it's all too good to be true. Well, it *is* a horror novel, after all...Like The Ritual, Last Days begins without much of a preamble, dropping you right into the thick of the story almost immediately (there is a short prologue which presages and foreshadows the horrific, supernatural events to come, but I felt the book would have worked just as well without this) with Kyle being offered the commission and given a slight history of The Temple Of The Last Days and Sister Katherine, the leader of the infamous cult. In fact, though the first chapter is essentially expositional in nature, it's very skilfully woven into an interview/job description scene, and the information on offer is both essential to the story (for various reasons) and deeply interesting. It also sets the tone for much of the book for almost 50% of the story is delivered through interviews and reminiscences; it is, after all, an attempt to write a novel which is, essentially, 'found footage' in style. Yet for me, these passages never feel like information overload, or, indeed, as though they are taking away from the 'action' of the story (in fact, despite its large size, I found the book immensely readable). Personally, many of these passages offered the most chills and evocation of true horror; there's something to be said for an authentic, second-hand telling that can surpass a conventionally told story. There's a passage early on in The Ritual where a character is describing something he has seen in the forest, and this was one of the most terrifying parts of that book for me. I think Adam manages to really tap into a deep and convincing sense of character in order to make this style work. Which is just as well, as Last Days has a lot of second-hand relating of events.Yet, as with the leap between Apartment 16 and The Ritual, I feel Adam has, yet again, made a jump both with his style and with his ambition. Though the surface story might feel a little ho-hum - evil cults, rumoured devil worship, murders and ghosts - both the execution and the way the story unfolds are anything but conventional. I put this down to a couple of things; firstly, his prose is, aside from the odd sentence or two, crisp, sharp and to the point. Adam seems to have eschewed long, flowery descriptions in favour of to the point writing. That's not to say the words are dull and pedestrian; it's merely that he has clearly looked at what is extraneous to the story and has only retained or written that which is absolutely necessary for each passage, each scene. Secondly, he writes with an absolute earnest conviction that, for me, refuses to be disbelieved. The characters - while potentially irritating, I don't know, I don't give a fig about needing to 'like' a character in order to enjoy a well-written story - are solid, three-dimensional, follow logical lines of reasoning within the context of events, and react with convincing and increasing levels of fear and dislocation as they go deeper into the cult of Last Days. I also felt the themes that were bubbling under - or coming to the fore in a few instances - helped to heighten the narrative. Adam isn't simply writing about vile occurrences for the sake of it; he is not merely attempting to give us a few cheap thrills to make us watch the shadows. No, with this novel, he is tapping into a wider sense of the horror of mankind. Yes there are supernatural shenanigans going on, but as the story progressed, I felt it was as much - if not more - about the worst aspects of the human race; its greed and hunger for power, for domination over others, for excess, and for bloodshed. It's something that's been on my mind for a few years and in Last Days, many of my thoughts coalesced and became clearer. For me, this is the true mark of a great horror writer (and, indeed, a great writer); the ability to tap into social consciousnesses, to be able to use your writing to examine and dissect themes and concepts that aren't necessarily a part of the main plot, to examine what it is to be human and to shine a light on our darker natures; literary horror writing, in other words.But of course, there is still a horror story here, and there are some fantastic, chilling set pieces. In attempting to create a 'found footage film' in book form, Adam has succeeded beyond expectation. There are genuinely freaky moments where the main characters move through a darkened building with inly the light of their camera to illuminate the spaces, and the sounds and barely-glimpsed movements are as good as footage from the best examples of this kind of cinema (ironically though, I feel that the book is almost unfilmable due to the long interview sections; any movie would only be shadow of this deep work). Then there are the moments when things emerge from the walls and ceilings, twisted, skeletal forms which are given pages and pages of expert build-up before they appear, over many chapters, until your nerves are utterly shredded at the thought of them. It's a great technique, building on and connecting small details that grow as the story progresses, serving to anchor the idea of these creatures in the mind almost without you realising it; and when they finally do appear, you're already halfway terrified. I also loved the wider mythology, the cult itself, but also the forebears of it and the idea that it is merely the latest of a rippling, echoing occurrence down through the ages. In a way, there are hints of Clive Barker's old style with regards to ancient cults, tribes and the like, but in Last Days they are far less magical and more mired in bleak brutality. I also liked the slight shift in tone towards the end. I've heard some folk complain that Adam has a tendency to go off at a tangent at the end of some of his books; I can't attest if this is one of them, though it does veer - as The Ritual did in a very slight way - into more action territory than horror towards the end. But this absolutely worked for me. It still retains tension and chills, yet feels very logical within the scope of previous events. It didn't come from left-field and provides an appropriate finale to the novel.However, as with almost every book I've read in the last ten years or so, it's not without its occasional fault. There are the inevitable typos, rare but irritating, the occasional sentence that, I felt, could have done with some restructuring (a personal thing but worth noting), and my biggest annoyance; the constant misspelling of Glock (as in pistols, and spelled in the book as Gloch). I also felt there was a lack of research with regards to the firearms; it's stated at least once that the pistol torch is fitted to the rail on top of the gun, but pistol rails (if they even have any) are on the underside simply due to the fact that the weapon's sights are located on the top. It might seem a small thing, but it did have me groaning each time. Still, it didn't really mar my enjoyment all that much, and I only mention it in the interests of highlighting the advantages of research. instead of a completely 5 star book, it's maybe a 4.8, but I've rounded that up to 5 anyway.But regardless, it's a powerful, epic and immersive work, which definitely succeeds in its ambitions. It also marks another leap forward for Adam in his immense talent, and I'm heartily looking forward to his next works. Onwards, to The House of Small Shadows...