RED X
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- Pedido anticipado
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- Se espera: 30 jun 2026
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- USD 9.99
-
- Pedido anticipado
-
- USD 9.99
Descripción editorial
A terrifying supernatural entity haunts Toronto’s gay village in the ’80s in this gruesome, metatextual modern horror classic that spans decades of queer community and history. RED X is a masterful experimental work already heralded as one of the great horror novels of the twenty-first century, now reissued with deluxe materials, including a new introduction by Gretchen Felker-Martin and an essay by Anthony Oliveira.
“[A] seminal work of queer literature . . . So arresting, so brutal and yet so delicate that its labyrinthine complexity should be studied and praised.” —Eric LaRocca, author of Things Have Gotten Worse Since We Last Spoke
In 1984, a young gay man vanishes without a trace, leaving behind a community of friends and lovers desperate for answers. Instead, they face everything from casual indifference to outright prejudice. As decades pass, more men vanish, revealing a terrifying, centuries-old demonic presence at the heart of the disappearances.
Interspersed throughout, the author shares autobiographical vignettes: his earliest brushes with death and fear, his observations on queer culture and the horror genre, on representation and erasure, culminating in an elegiac and brilliantly woven narrative that blends fact and fiction, and has already been heralded as one of the great horror novels of the twenty-first century.
PUBLISHERS WEEKLY
Demchuk (The Butcher's Daughter) wows with this genuinely hair-raising queer horror novel. Set in Toronto from the 1980s to the 2010s, the narrative spotlights a series of gay men, many on the margins of society, who suddenly disappear, leaving their friends and lovers with no answers, while the police make little or no effort to trace them. Among the vanished are aspiring artist Ryan; Suda, in Canada on a visitor's visa to work at his brother-in-law's restaurant; and Julian, "the kind of pleasant but nondescript young man whom few people would have glanced at twice." Readers catch glimpses of a young Scottish man with a tattered red leather notebook who often appears near these victims before their disappearances; his deceptively quotidian appearance, however, masks the supernatural power behind the macabre and often surreal attacks and deaths that span these decades. A meta discourse on queer horror periodically interrupts the action, sharing Demchuk's musings on the genre while building tension as dread slowly creeps in. Demchuk masterfully combines pure human horror—homophobic violence, the AIDS epidemic—with supernatural scares to keep the pages flying. This will have readers sleeping with the lights on.
