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The Fear Zone

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The Fear Zone

K. R. Alexander | 4.36 | 321 ratings and reviews

Ranked #34 in R

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The Fear Zone

• 4.6 • 18 Ratings

Publisher Description

When five kids are invited to a cemetery at midnight, they think it's just a prank. When they find a gravestone that instructs them to dig up a grave, they think it's just a joke.It's no joke.An evil force is unleashed - a force that takes the shape of their worst fears.A shark in the water.A ghost in the walls.A nightmare of being buried alive.A snake about to strike.A sinister clown waiting in the woods.Once these fears are released, they won't go away. Not without a fight. . . .

Customer Reviews

One of my favorite books i’ve read… ever.

I really enjoyed the book! It gave me a sense of fear and a sense of love at the same time which is difficult to Write. The book talks about facing fears, and how you can’t always face them alone but with the love and support of your friends! Overall great book, and highly recommend reading it!!! :)

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More books by k. r. alexander.

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THE FEAR ZONE

by K.R. Alexander ‧ RELEASE DATE: Sept. 3, 2019

Insurmountably derivative.

A mysterious evil preys on the fears of a group of kids.

The notes mysteriously arrive on Halloween, instructing eighth graders April (fat and bullied, likely white); her best friend, Andres (gay and Latinx); their former friend–turned–class bully Caroline (white); and unpopular ninth grader Deshaun (black) to go to the cemetery at midnight. Deshaun’s popular best friend, Kyle (white and gay), tags along, and the group converges on a mysterious gravesite—it’s old but also has been recently vandalized, and the dirt looks freshly disturbed. They feel compelled to dig, until they unearth a tin and hope that’s the end of a prank. But it’s no prank, and they find themselves haunted by their individual greatest fears—and in between the personalized hauntings, the malicious entity assumes the form of April’s greatest fear, a clown, which menaces, waves at, and taunts the kids. While the target audience is—by age rating—too young to have had direct exposure to Stephen King’s novel IT (1986) and its past and present cinematic adaptations, many will be familiar enough with the premise to recognize the glaring similarities. The narration alternates among the five characters, with their voices for the most part sounding all too similar. The parts dealing with the evil entity are scary without being graphic; the most effective subplot deals with an abusive home life situation. The unsatisfying ending leaves too many questions unanswered.

Pub Date: Sept. 3, 2019

ISBN: 978-1-338-57717-4

Page Count: 304

Publisher: Scholastic

Review Posted Online: June 15, 2019

Kirkus Reviews Issue: July 1, 2019

CHILDREN'S HOLIDAYS & CELEBRATIONS

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BOOK REVIEW

by K.R. Alexander

THE STAR MAKER

by Laurence Yep ‧ RELEASE DATE: Jan. 1, 2011

In the way that young children often do, when pressed by his bullying older cousin Petey 8-year-old Artie boasts that he’ll provide the whole family with firecrackers for the upcoming Chinese New Year. Firecrackers are expensive, and he quickly regrets the promise, but Petey won’t let him forget it. Uncle Chester, like Artie, is the youngest of his generation and has also been the target of a little bullying. He has yet to achieve financial independence, wasting too much time and money betting on horses and enjoying the camaraderie of a vividly depicted 1950s-era San Francisco Chinatown. Chester tries to help Artie out by spending time with him, but he also begins to enjoy the company of a young female shopkeeper, a relationship the child at first regards jealously but then accepts because of its positive effect on his beloved uncle. Reminiscent of Tomie dePaola’s 26 Fairmount Avenue books, this brief tale tenderly portrays a large, loving extended family and presents a rich multicultural theme and an engaging plot for middle-to-upper–elementary readers.  (Historical fiction. 8-12)

Pub Date: Jan. 1, 2011

ISBN: 978-0-06-025315-8

Page Count: 112

Publisher: Harper/HarperCollins

Review Posted Online: Dec. 22, 2010

Kirkus Reviews Issue: Nov. 15, 2010

CHILDREN'S FAMILY | CHILDREN'S HOLIDAYS & CELEBRATIONS

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by Kevin Henkes & illustrated by Kevin Henkes ‧ RELEASE DATE: June 1, 2011

This year, as she turns 10, the expected holiday company varies just enough to feel odd and challenging: The neighboring...

Every year, Alice celebrates her birthday week in February with her parents in a cottage on the beach in Sanibel, far from her snowy Wisconsin home.

Pub Date: June 1, 2011

ISBN: 978-0-06-196417-6

Page Count: 192

Publisher: Greenwillow Books

Review Posted Online: April 18, 2011

Kirkus Reviews Issue: May 1, 2011

CHILDREN'S SOCIAL THEMES | CHILDREN'S FAMILY | CHILDREN'S HOLIDAYS & CELEBRATIONS

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Fear Zone — by K.R. Alexander

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'The Zone of Interest' Review: Jonathan Glazer’s Haunting, Restrained Journey into Evil

Glazer's approach to the Holocaust film is wholly unique and undeniably terrifying.

The Big Picture

• The Zone of Interest takes a unique approach to the Holocaust by focusing on the mundane lives of the Höss family, reminding us of the atrocities on the other side of the wall.
• Director Jonathan Glazer effectively builds a sense of terror without showing the actual events at Auschwitz, relying on the audience's familiarity with the story.
• Christian Friedel and Sandra Hüller deliver unnerving performances, capturing the dread and acceptance of their savage characters.

This review was originally part of our coverage for the 2023 Toronto International Film Festival.

Before we see a single frame of The Zone of Interest , from Sexy Beast and Under the Skin director Jonathan Glazer , we can feel the all-encompassing nature of evil. As the words “The Zone of Interest” appear on the screen, they’re soon enveloped in darkness, swirled away into the black , fading away into a warped nightmare and Mica Levi ’s haunting score. Prior to the film even beginning, Glazer throws us into the droning terror, preparing us for his idiosyncratic take on the Holocaust story.

The Zone of Interest

The commandant of Auschwitz, Rudolf Höss, and his wife Hedwig, strive to build a dream life for their family in a house and garden next to the camp.

When Glazer first shows us the Höss home, very little seems to be out of the ordinary . But this house shares a wall with Auschwitz, and while the Höss family seems idyllic at times, we’re always reminded of what is happening on the other side of that wall. On one side of that wall is an attempt at domestic normalcy, and on the other, some of the worst atrocities ever perpetuated in human history. Rudolf Höss ( The White Ribbon ’s Christian Friedel ) is the commandant of Auschwitz, and he and his wife Hedwig ( Sandra Hüller ) have come from very little, and now have the home of their dreams, complete with several kids, and a handful of Jewish women that work within their house.

Glazer—who also wrote the script based very loosely on Martin Amis ’ book of the same name—makes the story of the Höss family intentionally mundane. Hedwig shows her mother her expansive garden, which we can see stretches the length of an entire building on the other side of the wall, while Rudolf’s job involves finding more efficient ways to get rid of hundreds of bodies a day. No matter what the Höss family does, the agony of the other side of that wall permeates the day-to-day .

'The Zone of Interest' Takes a Terrifying Approach to the Holocaust Film

Glazer makes the surprisingly effective choice to never show us what is actually occurring in Auschwitz , and frankly, we don’t need to see what countless other movies have shown us. Glazer knows that we have already seen that story, and as the viewer, we bring our experience with these stories to this film, which fills in the blanks that he doesn’t show us. The result is a choice that is more unnerving than the film could ever show us visually.

But The Zone of Interest always reminds us of what is going on in subtle and extremely overt ways. As we follow the Höss family, we constantly hear gunshots, each one likely taking yet another life. While the Höss home has come to ignore these inconveniences, every shot is a jolt to the audience. When they decide to have a garden party, complete with a buffet of food and a pool, we can see the smoke from the trains wafting overhead. Combined with Levi’s twisted, unsettling and sparsely used score, The Zone of Interest is an aural shock—even when the world might seem normal on the surface .

Yet even Glazer’s more overt mentions of what is happening are jarring in their own right . One particular shot shows several of Hedwig’s flowers, as we hear blood-curdling screams, until the screen turns entirely red, which ends with an unexpected cut back to reality—as if we’re getting just a small dose of the panic and fear that is happening mere feet away. Glazer’s approach in these grander moments is especially powerful near the end of the film, as Rudolf has what seems to be a moment of self-awareness akin to the ending of Joshua Oppenheimer ’s incredible documentary The Look of Silence , spliced together with a vision of what will happen to all his hard work.

In a way, Glazer’s approach to Amis’s The Zone of Interest is fairly similar to how he adapted Michel Faber ’s Under the Skin : paring the spirit of the story down to its bare essence and telling that story primarily through impactful visuals. In the way that Under the Skin dissected the science fiction story, Glazer tears apart what we know a Holocaust story to be , showing us that pure evil isn’t necessarily always big and imposing, but rather, can be fairly banal and every day—an even more important message for today’s evils.

In adapting the Martin Amis novel, Glazer boils this story down to the pure evil that emanated from that book , a darkness that seeped into every page and through every action of these characters. Glazer’s take is far more abstract than the Amis story, allowing us to feel that rising tension, without prioritizing narrative or character. Essentially, Glazer is giving us the same impact that Amis was able to, but without speaking about this evil too directly. We can sense the darkness around every family gathering, we can hear the roar of the atrocities, and the indirect camera that is more of a viewer than an actual participant is able to show the normalcy of this family, which only makes what we’re not seeing even more terrifying.

Christian Friedel and Sandra Hüller Are Unnerving in Their Characters' Mundane Lives

Even though Glazer is showing us the “normal” every day life of the Höss family, we still feel like some horror is just around the corner —literally and figuratively. This is largely because of the restrained performances by Friedel and Hüller, who go about their days aware of the impact they have on those around them and the power they wield. We’ve seen countless films about the Holocaust, and Glazer knows we’re bringing those experiences with us into The Zone of Interest . In not showing us what’s happening over the wall, we bring our past knowledge from other films into this story, and that makes the lack of knowing even more haunting and terrifying. We can hear the gunshots and the occasional screams, and we know what’s happening because we’ve already seen these horrors before. Even though we react at every reminder of what’s going on beyond the wall, the way that Hüller and Friedel are able to go about their business without even flinching shows us the evil within them that Glazer doesn’t have to present to us.

Friedel and Hüller are particularly excellent in presenting this idea, as they are able to present an air of dread even when they’re doing nothing directly monstrous. Simply their presence and acceptance of their situation makes them savage—they don’t have to oversell their clear nature. If anything, the clumsiest parts of The Zone of Interest come when Glazer has Rudolph and Hedwig directly telling the audience ideas we’ve already gathered through the context of the story , which ends up making them feel like Glazer hitting us over the head with things we already know. For example, when one of the Jewish women who works at the Höss household makes what seems like an honest mistake, Hedwig reminds that her husband could easily spread the poor woman’s ashes without nearly a thought. But considering that we’ve already seen the fear that these women live in as the Höss family servants, the potential of this type of scenario is already abundantly clear from the simple way they move around this family.

Glazer and cinematographer Łukasz Żal ( Cold War , Ida ) shoot The Zone of Interest mostly in the day and with natural light , once again presenting this home as a halcyon of happiness, which makes the narrative itself even more distressing. In the day, it’s easy to hide, but at night, it’s impossible to avoid the flames constantly burning in the darkness. It’s in the night where Glazer gives us small glimmers of hope, using negative film to invert the story, and show us how even the tiniest—but still immensely dangerous—attempts to fight back against the oppressors never let the hope entirely die down.

The Zone of Interest , like Son of Saul or The White Ribbon before it, finds ways to continue telling these important stories, but to do so in a way that presents these narratives in a wholly unique fashion . Glazer’s latest fits within his distinct style, breaking down a genre and working with the skeleton that’s left over in order to get at the heart of what makes these stories so jarring.

Jonathan Glazer's The Zone of Interest is a haunting look at the Holocaust, a stark use of visuals and sound to create an emotional experience rather than a narrative one.

• The Zone of Interest uses haunting sound and direction for an unnerving experience unlike any other look at the Holocaust.
• Jonathan Glazer's camera keeps the audience at a distance, but just close enough to feel the horror emanating from this camp.
• The film's conclusion is a stark reminder of evil's legacy, and a tremendous ending for a staggering story.

The Zone of Interest is now available to stream on Max in the U.S.

WATCH ON MAX

Sherlock Holmes and the Valley of Fear at Southwark Playhouse review

Sherlock Holmes and the Valley of Fear | Southwark Playhouse | ★★★★☆ 

It is easy to forget how much talent London is home to. It is not hard to find extraordinary, professional acting in stripped-back productions playing one of London’s many, small, off-West End and pub theatres: a gift that few other capital cities can give.

Sherlock Holmes and the Valley of Fear at Southwark Playhouse Borough is one such production: relying on a cast of five, bric-à-brac set furnishing, and very little marketing, it delivers a hugely satisfying adaptation of one of Arthur Conan Doyle’s longest and most complex Holmes books.

Nick Lane’s adaptation and direction makes use of simple, precise stage movements and changing accents to tell two stories in parallel. The action moves continuously back and forth between a “most horrific murder” in a moated manor, set in leafy, suburban Victorian England , and the Pennsylvania coalfields of 1875, where the strife between exploited miners, organised in secret societies, and the coal and railway barons, trying to subdue them through private investigators and informers, plays out.

Moriarty makes an appearance in a South Kensington art gallery, thanks to poetic license, and the real events of the Irish Molly Maguires underpin the US half of the plot-line. There is elegant mirroring of detective work in both stories, but the clever split narrative of this production ensures that we only discover this at the end.

A half-built frame is the window bearing the footprint of an escaped murderer in one scene, swiftly doubling up as the rolled down window of a slow locomotive, winding along the US coal state, in the next. Empty market craters furnish the seating of this train compartment, only to reincarnate as the fast, if somewhat poor on suspensions, horse carriage taking Holmes and Watson on the scene of the crime back in England.

It is this kind of theatrical ingenuity, accompanying the already delightful, witty exchanges between Holmes and Watson, preserved intact with Doyle’s many stylistic flourishes, which delivers much of the pleasure. The rest is simply down to phenomenal acting. Bobby Bradley makes an excellent Holmes, and Joseph Derrington gives us a most likable Watson. Blake Kubena brings US acting flair to both his gang member and Lord of the Manor roles. Alice Osmanski is brilliant and completely believable in all five of her characters, deploying a range of acting skills seldom seen in a single play. Gavin Molloy masters the intricacies of an Irish American accent with outstanding results as the ferocious head of a Molly Macguires lodge.

This latest production by Blackeyed Theatre, a twenty-year old company that brilliantly self-describes as sustainable theatre, offers a truly delightful and wholesome evening of entertainment, suitable for teen and adult audiences alike, in an area of London normally associated with food and drink rather than the arts. Not that you’ll be short of choice on your way out of the Playhouse: Mercato Metropolitano – think pop-up stalls grow up and get organised – is a stone’s throw away so you can easily make a whole night out of the combined pleasures of street food and stage.

• Sherlock Holmes and the Valley of Fear runs until 13th April 2024 – book here  

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Stream It Or Skip It: ‘The Zone of Interest’ on Max, an Unblinking Stare at the Banality of Evil

Where to stream:.

• The Zone of Interest
• Jonathan Glazer

New Shows & Movies To Watch This Weekend: ‘Mary & George’ on Starz + More

Over 400 jewish hollywood entertainers sign letter denouncing ‘zone of interest’ director jonathan glazer’s oscars speech, ‘the zone of interest’ director jonathan glazer calls out israel’s “occupation” of palestine in rousing oscars speech, new movies on streaming: ‘the zone of interest,’ ‘mean girls,’ + more.

Jonathan Glazer doesn’t make feature films very often, but when he does, we get an unforgettable work like The Zone of Interest ( now streaming on Max , in addition to VOD services like Amazon Prime Video ). The acclaimed director of Sexy Beast , Birth and Under the Skin spent years researching and preparing to make this banality-of-evil story about Rudolf Hoss, the Nazi commandant who was not only in charge of the Auschwitz concentration camp, but also lived immediately next door to it. Seeking to remove as much of the “artifice of filmmaking” as possible, Glazer set up multiple static cameras inside a detailed replica of Hoss’ home – built very close to the real thing, which still stands – and let his cast simply “exist” in the set, the Hoss family going about its suburban routine while the sounds of genocide creep over a fence and into their idyllic garden. The film is up for five Oscars, including Best Picture and Director, and stands, like so many Holocaust films before it, as one those movies you’ll appreciate on many levels, and be glad that you’ve seen, but probably will never want to see again.

THE ZONE OF INTEREST : STREAM IT OR SKIP IT?

The Gist: Location, location, location. Rudolf (Christian Friedel) and Hedwig (Sandra Huller, Oscar nominee for Anatomy of a Fall ) Hoss don’t live in an extravagant home, but it’s still beautiful. Their daughters’ room is cozy and bright, Rudolf’s office is stately and the dining room is grand. The piece de resistance, though, is the garden, which is Hedwig’s pride – it stretches across a few parcels, and includes a pool for the children to play in, a broad diversity of flowering plants (including towering rows of sunflowers) and a sprawling greenhouse. We first meet the Hoss family as they look excessively pale in the sunlight along the bank of a lake. It’s a gorgeous day. They’ve taken their two sons, two daughters and baby for a swim and picnic. By the time they get home, the crickets are chirping in the twilight, the soothing warble blending in with the not-quite-distant sounds of gunshots, screaming, diesel engines and other sounds of the industry of systematic genocide.

It’s Rudolf’s birthday. The children are thrilled to gift him a three-person kayak, so new, the paint’s still fresh. He puts the baby in it and laughs that she’ll have a green bottom. All the officers from the Auschwitz camp gather outside Rudolf’s back door to wish him a happy birthday; higher-ups will meet inside his home office later to go over the blueprints for their new highly efficient mass-cremation system. When he has a rare day off, he takes two of the kids to the nearby Soln for a spin in the kayak. As they swim and he wades into the river with his fishing rod, he steps on something. It’s a human jawbone. He dashes from the water and rushes the children home, where the nanny and housekeeper scrub them in the bathtub, cleaning off any remnants of ash. At nighttime, Rudolf makes the rounds, turning off lights and locking doors. In one bedroom, he and Hedwig giggle and laugh quietly in their twin-sized beds, separated by a nightstand; in another, their elder son lays in bed with a flashlight, sifting through a box of gold teeth.

Hedwig’s mother arrives for a visit, her first at the Auschwitz house. Hedwig gives her a guided tour of the garden – a “paradise garden,” her mother labels it – and they sit near a lovely pergola, not hearing, or pretending not to hear, the grinding sounds of the industry of death churning mere yards away, on the other side of a tall privacy fence topped with barbed wire like Christ’s crown of thorns. They host a party and we get a shot of the children splashing in the pool as we see plumes of smoke progressing across the horizon from a train arriving at the camp; from the opposite angle, the brick buildings that house gas chambers and furnaces loom ominously. As they sit poolside, Rudolf tells Hedwig that he’s been so successful at overseeing Auschwitz, he’s been promoted from commandant to deputy inspector. They’ll have to relocate to Oranienburg in Germany. Hedwig is incensed. Have you seen her garden? Have you seen how happy the children are? This is their dream, she argues, and it’s even better than they ever thought it’d be. Why would anyone ever want to leave this?

What Movies Will It Remind You Of?: File The Zone of Interest next to Michael Haneke’s The White Ribbon among modern cinema’s most miserably effective examinations of the worst of humanity.

Performance Worth Watching: Between this and Anatomy of a Fall , 2023 marked an extraordinary year for Huller. Both films gave her a platform to explore compellingly thorny moral gray areas; in The Zone of Interest , her characterization is all about fascinatingly superhuman feats of compartmentalization. 

Memorable Dialogue: Rudolf takes his son for a horseback ride through the woods. As the sounds of the Auschwitz camp creep into the scene, Rudolf points something out to the boy: “Do you hear that? It’s a bittern. A Eurasian gray heron.”

Sex and Skin: None.

Our Take: The Zone of Interests opens with a black screen and an ambient-music overture, functioning as a palate cleanser for what we’re about to see: A family going about its daily business. Boys play with toy soldiers, the nanny sits with her head in her hands as the baby wails in the wee hours, women chat over tea, a father reads his daughters a bedtime story. But one of the boys wears the uniform of the Hitler Youth. The sound of furnaces belching smoke and flame have awakened the child. The women casually discuss acquiring a dress from a “Jewess.” The story is Hansel and Gretel , and we specifically hear the part about the children pushing the witch into the oven.

Sometimes, we have to block out troublesome thoughts just to get through the workday and put dinner on the table and get the kids to bed. But the Hoss family is a different story. The children are collateral damage, while the adults function on a different level, especially Hedwig. While her husband ventures to the other side of the fence daily, she doesn’t, and prompts us to wonder whether complicity or indifference is worse. Most people get used to the best and worst of new surroundings; having acclimated to living in boiling water, Rudolf and Hedwig have become truly inhuman. Cue a crushingly prosaic scene: Rudolf makes a phone call, dictating a memo to camp workers. He wants them to please be conscious of not destroying the lilac bushes while picking flowers. We recognize the crass irony of the moment. Does he?

Glazer never shows us what happens on the other side of the fence. He doesn’t have to – we’ve seen it in Schindler’s List , Life is Beautiful , Son of Saul and others. In this film, though, the idea that what’s in our imagination is more terrifying than what we witness firsthand holds true as ever. The cinematography functions as a harsh staredown, as if the camera is trying to will its subjects to recognize reality, to self-reflect. The director tells parallel stories: The one we see, a quasi-observational family drama, austere and unblinking. And the one we hear, a horror story and condemnation of these characters (for this reason, the film is nominated for a best sound Oscar). These narratives intersect so frequently in our minds, because we’re not evil, and we try to will it to happen to Hedwig and Rudolf, perhaps because we value redemption stories, even when there are none.

Not all of the film is chillingly astringent. Glazer deviates from the static camera/natural light formality in a few scenes depicting Polish Jews whose faces go largely unseen: A girl, shot with reverse-negative photography, hides apples for starving prisoners; a lament played on a piano is subject to subtitles, instrumental music translated into words; a late-film sequence flash-forwards to present-day Auschwitz. History passes judgment. Not all is hopeless, and not all is forgotten. 

Our Call: The Zone of Interest is an exceptional film, and a difficult one to endure. The most vital stories are so often that way. STREAM IT. 

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

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The Fear Zone 2 Kindle Edition

• Reading age 8 - 12 years
• Book 2 of 2 Fear Zone
• Print length 201 pages
• Language English
• Grade level 3 - 7
• Lexile measure 600L
• Publisher Scholastic Inc.
• Publication date December 29, 2020
• Page Flip Enabled
• Word Wise Enabled
• Enhanced typesetting Enabled
• Sticky notes On Kindle Scribe
• ISBN-13 978-1338702132
• See all details

• Customers Also Enjoyed
• In This Series
• By KR Alexander
• Action & Adventure

From the Publisher

Editorial Reviews

Praise for The Fear Zone : "A positive undertone of acceptance and the power of friendship to solve problems." -- Booklist "A lot to enjoy as a creepy clown scares some kids out of their minds." -- BCCB

About the Author

K. R. Alexander is the pseudonym for author Alex R. Kahler.

As K. R., he writes creepy middle grade books for brave young readers. As Alex -- his actual first name -- he writes fantasy novels for adults and teens. In both cases, he loves writing fiction drawn from true life experiences.

Alex has traveled the world collecting strange and fascinating tales, from the misty moors of Scotland to the humid jungles of Hawaii. He is always on the move, as he believes there is much more to life than what meets the eye.

You can learn more about his travels and other books, including Darkroom , Vacancy , Gallowgate , The Collector , The Fear Zone , and the Scare Me series, on his website: cursedlibrary.com

Product details

• ASIN ‏ : ‎ B088CXCSBV
• Publisher ‏ : ‎ Scholastic Inc. (December 29, 2020)
• Publication date ‏ : ‎ December 29, 2020
• Language ‏ : ‎ English
• File size ‏ : ‎ 9295 KB
• Text-to-Speech ‏ : ‎ Enabled
• Screen Reader ‏ : ‎ Supported
• Enhanced typesetting ‏ : ‎ Enabled
• X-Ray ‏ : ‎ Not Enabled
• Word Wise ‏ : ‎ Enabled
• Sticky notes ‏ : ‎ On Kindle Scribe
• Print length ‏ : ‎ 201 pages
• #216 in Children's Scary Stories
• #755 in Children's Books on Friendship
• #1,242 in Children's Spine-Chilling Horror

About the author

Kr alexander.

K.R. Alexander is the pseudonym for fantasy author Alex R. Kahler. Under this guise, K.R. writes creepy middle grade horror, perfect for young readers looking for a scare!

He is always seeking new stories and horizons. Which is probably how he found himself on the wrong end of a volcano in Hawaii, and trapped in a converted fish factory in an Icelandic blizzard, and lost in the moors of Scotland, and teaching circus arts in an artist commune in Madrid, and...

For now, though, he lives in Seattle, spinning tales and drinking too much coffee.

For more information about him and his novels, visit www.cursedlibrary.com

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