No One Gets Out Alive
Now a major NETFLIX film
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- 5,99 €
Beschreibung des Verlags
Darkness lives within . . .
Now a major Netflix film, No One Gets Out Alive is the ultimate haunted house thriller from horror writer Adam Nevill. Winner of the August Derleth Award.
‘Fast becoming Britain's answer to Stephen King’ – The Guardian
Cash-strapped, working for 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 Edgware 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. And when Knacker’s cousin Fergal arrives, the danger goes vertical.
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?
‘One of the UK’s best horror writers’ – SFX
PUBLISHERS WEEKLY
Well-regarded British horror novelist Nevill (Apartment 16) does not disappoint in his latest standalone. Stephanie, a teenager estranged from her stepmother and desperate to make it on her own, rents a cheap room and immediately discovers that she's made a huge mistake: the house is haunted, her landlord is abusive, and she has nowhere else to go. Over the following week, Stephanie is submerged in abject terror, bouncing from mundane despair to supernatural fright so quickly that the reader becomes disoriented a sensation that only enhances the suspense. Rather than simply hanging his plot on evil ghosts, Nevill pits his heroine against two somewhat Roald Dahlian villains who serve as a chilling reminder that true horror is easily found in the real world. Their behavior is hauntingly depraved, but despite the highly sexual nature of their crimes, Stephanie herself is never made a sexual target a welcome change from the horror fiction status quo. Though Nevill's verbosity extends the book's length by an unnecessary hundred pages or so, the slow and steady pace preys on the reader as much as the plot itself, eliciting a reading experience fraught with real chills.
