I’ve been enjoying Mark West’s fiction for several years now, and his brand of atmospheric, uneasy horror always has me coming back for more. He is one of those authors that brings such investable humanity and resonance to his fiction that genre is rendered almost irrelevant. I was therefore delighted to discover that with this new novella from Pendragon Press, he wanders outside his usual discomfort zone into white-knuckle territory, but still manages to deliver his most terrifying piece to date.
David Moore is a finance manager, away from his wife and home on a work-related course. Attempting to assuage the lonely boredom of an evening in the hotel, he grudgingly attends a house party held by a local course-mate. Here he meets Nat, a friendly divorcee, and as the night grows late, he offers her a lift home. But a black Audi full of drug-fuelled hoodies is terrorising the local population, and when David and Nat become their target on the lamp-lit, unfamiliar streets, things are all set for a breath-taking game of cat and mouse.
David is the perfect lead character for this story. It needed an unlikely hero, and as he is sensible, pleasant and tends towards gentlemanliness, we instantly invest. The same goes for Nat, who brings fire and intelligence to her classic role as “damsel in distress”. David’s courage is also amplified by his understandable fear and initial hesitation to act, so by the time the story has really got into gear, I was firmly in their corner.
In true Mark West style, he initially engages the reader through deft evocation of normal scenarios with which we can identify, then injects teasers of menace to draw us further in. And in this story, the menace is immense. The men in the black Audi are thoroughly nasty and dangerous, indiscriminate with their sadistic cruelty, and this threat is cranked up page by page. A particularly pleasing device is that their arrival is always heralded by pounding bass music from the car – the familiar epitome of anti-social aggression – which is used to great effect. It conjures an ominous and cinematic dread in the same way clanking chains precede the arrival of the cenobites in the Hellraiser films, or the slow, ground-shaking footfalls of an approaching T-Rex in Jurassic Park.
“Drive” is a simple chase story with a classic set-up. But it becomes so much more than the sum of its parts through superb writing and – once it kicks off – an adrenaline-soaked pace that doesn’t take its foot off the pedal for a second. The tension and fear are so palpable that there is nothing to take you out of the moment, right up until the intense finale. There are no clues as to how it will all pan out, or as to why David and Nat have been singled out as prey, forcing you to find out for yourself. And I wouldn’t dream of giving anything away.
Another element I loved is that despite the urban sprawl, David and Nat have nowhere to turn. This isn’t the traditional rural or isolated setting for such a tale – they are in the heart of civilisation – but the dark streets, petrol stations, and even the police offer no sanctuary as it becomes a matter of life and death. They are on their own, and this is skilfully achieved without any suspension of disbelief.
The moments of violence are stark and sometimes shocking. And these aren’t “fun” shocks either, like the gleeful scares of ghosts, deranged serial killers or monsters in the closet. This is bitter-tasting street violence of the kind that may well be lurking in an alleyway outside your house with a flick-knife and an erection.
If you can handle the darker stuff, I would recommend “Drive” regardless of your usual genre preference. Just be sure you have no plans for an hour or two, because you aren’t putting this rollercoaster of a novella down for anything. Except perhaps the arrival of a black Audi with pounding bass…