After a nightmare about his mother, Kevin Devereaux has a bad feeling. His foreboding is proven correct when his sister, Marguerite, phones and informs him their mother is dying. He announces to his family they’re heading down to South Carolina to visit the mother and sister he’s never spoken of, the family he divorced himself from years ago when he moved north.
Kevin, his wife Anne, and two children, Julie, fifteen, and Jeff, eight, arrive in the small, run-down town of Devereaux, founded by his ancestors. The family mansion, Sea Oaks, an old plantation house, is set on an island reached by causeway. The family is greeted warmly by Kevin’s sister, whose promising dancing career was thwarted by a hip injury after falling down the stairs years before. Matriarch Helena Devereaux, despite knocking on death’s door, is a vicious, spiteful, domineering, demanding harridan who treats her daughter like a slave. Housekeeper/cook Ruby, who’s been with the family for decades, fares better, seemingly impervious to the vitriol slung her way.
Eventually, Helena dies, and Kevin is stunned to learn he’s inherited everything, which is basically Sea Oaks, and all the property in the town of Devereaux. There’s a stipulation, however; in order to keep his inheritance, he has to live at Sea Oaks for ten years. Then, he can do what he wants. If he chooses not to stay, everything goes to the military school he was forced to attend, and Marguerite would be left to fend for herself. Kevin almost immediately decides to turn the mansion into a hotel and develop the property, essentially turning the island into a resort. Anne thinks it’s a bad idea. Not long after Helena’s funeral, a lot of strange things start happening, including a specter roaming the family graveyard, and a number of unexpected and shocking deaths.
John Saul novels were ubiquitous back in the day, the covers a form of branding not unlike the step-backs used for V.C. Andrews titles. They were everywhere; grocery, drug, book, and discount department store chains. And yet, oddly, I never read one of them before this, even though I read a lot of horror in the ’80’s, when the genre was in its heyday. I don’t think The Unloved was a bad book to start with, but I do have a love-hate relationship with it.
I will say that Saul kept my interest, even after rolling my eyes when certain deaths occurred with what I’ll call convenient ease. I can’t reveal details without spoiling, but they run something like: “I refuse to believe A overrides B,” along with “X makes a moronic decision no sane person would,” and “Y and Z conveniently freeze in terror.” A couple of times I veered into “what about/isn’t there?” and the last chapter had me asking some major questions, which can all be categorized under “how/why in the hell is that allowed to happen?”
Yes, those plot holes and contrivances had me ranting in exasperation — but I still kept reading, because Saul has a way of keeping you intrigued. His writing is like potato chips, M&Ms, or crack; addicting. He doesn’t skimp on gruesome detail, and paints some pretty vivid images of the grotesque which infuses the story with an effective creepiness. Bodies stack up like the end of a Shakespeare tragedy, and his ability to create a character so loathsome you hate her immediately (Helena), and another you like just as instantaneously (Ruby) is impressive. Nothing surprised me in this book, it’s predictable and obvious, but that’s true of most genre fiction.
As I read, I envisioned this as a 1980’s made-for-TV movie, until things started getting a bit grisly. It would have been a bit too much for prime time, but it would have made for some crazy television. There are soupçons in this story from familiar works, among them; Now, Voyager, Whatever Happened to Baby Jane?, Psycho, Sunset Boulevard, A Streetcar Named Desire, and from the book world, Flowers in the Attic and My Sweet Audrina. Not so much blatant rip-offs, but more pinches of spice to enhance the macabre stew, the pastiche helps makes for a disturbing, entertaining, read. ***1/2 out of 5