We have all been there, so it’s not hard to conjure up the scenario. A bustling Saturday shopping afternoon, you try to manoeuvre yourself through the lagoon of people who bash past oblivious to anyone in their pathway. Basic manners and people skills: clearly two lessons that were eradicated from their upbringing. People who were not brought up, but rather brought down.
You clasp tight hold of the child’s hand by your side. But being an infant, this is no ordinary day, no day is ever ordinary when you are three or four. It’s a world of imaginative possibilities. An escalator is a runway to a sci-fi alien world, a conveyor belt to the land of robots. A discarded take away box is a trunk of treasure and then there are all the neon flashing distractions of window displays and other excitements.
You may lose your grip for a fraction of a second, look down and he or she is still there, look away and then back and the kid has vanished, gone! This is every adult who is responsible for a child’s absolute nightmare. Because adults know the darkness of the world we inhabit. In that fleeting moment, the amygdala does not just hijack the brain, it tortures it.
Generally a few seconds later the child re-appears, you catch sight of him or her and your heart returns back to its normal rhythm. You shout, an almost roar, out of sheer panic about wandering off and how it is naughty or some other disdainful reprimand. It doesn’t matter what you say, it’s just words, noise expressing your inner fear. And equilibrium is restored.
But what happens if the child does not re-appear?
This is precisely the dilemma that Jonathan Aycliffe throws at his reader in the beginning of the short tale of terror NAOMI’S ROOM. From the onset he establishes his tale in the land of comfortable academia. It’s domestic bliss with Charles, the main protagonist, aged 30, his wife Lucy, 26, and their daughter Naomi who is 4.
It’s a world of possibilities,
Your life seems so directed when you are thirty.
Charles is a published promising academic, with an acclaimed piece on Gawain and the Green Knight. The loving couple and their daughter live a charmed life and the action starts with the two prepping for Naomi’s first proper Christmas. Taking Naomi on a trip to London, on Christmas Eve, her mood is one of excitement.
Naomi’s sense of adventure was infectious.
This picturesque idyll is not so much shattered as completely decimated when Naomi goes missing.
Nothing bad happened to children on Christmas Eve.
Each chapter is crafted to keep you reading on with a suspenseful final paragraph. This tale is in the style of supernatural masters like M.R. James and Susan Hill. The sadistic style of writing that is unflinching in its descriptions, slashes the canvas of comfort and provides an engrossing narrative. It is horror writing at its best, suspenseful, chilling and occasionally gruesome.
I’d say you know it’s a captivating tale when you open the envelope it came in as you come home from a solid day of graft and decide to look at the first paragraph to realise you are 80 pages in and the last hour or two has gone by. It was only when I finished NAOMI’S ROOM that I actually looked at the cover in greater detail. Thankfully, I had not given it a glance as on reflection this could have put me off, a naff superimposed stock image of a spooky child clutching a doll over a staircase was about as sinister as athlete’s foot, but I guess that depends on the severity of the foot ailment!
If like me you choose to read this tale in a room of your own, I can guarantee that when you bed down in the evening, a light of sorts will have to be turned firmly on somewhere in sight of the naked eye. You will hope that the mind does not decide to work overtime and you will hope that Madam Sleep wrestles you quickly into unconsciousness.
It does amaze me the fixation that society seems to have with fictional horror and crime. The world is crammed with gruesome realities from IS to UKIP, yet we still have an innate fascination with atrocities from watching hangings in Elizabethan times to reading penny dreadful novels in Victorian days, the 1970’s slasher flicks to the bordering-on-snuff films of the SAW franchise.
Perhaps we are all just twisted souls?