The word “devil” is in the title. If this might bother you a little bit, don’t read this.
The cover is a bit creepy. If this makes you hesitate, don’t read this.
There is some violence. If you are the sort who can’t be past such subject matter, don’t read this.
There are, in fact, some fairly nasty people and events found in the text of this book…
Surely, you are either in or out by now. No need to continue down this road.
Go ahead and read the prologue. Experience a short scene with the Russell family through the eyes of a 9-year-old boy already haunted by his father’s twin obsessions of drinking and praying. That should either drive you the other way or drag you into Knockemstiff, Ohio en route to wild ride through the lives of some stark characters wandering the haunted hillsides of Donald Ray Pollock’s first full-length novel.
If you’re like me, you’re going to be thrilled.
The characters alone are enough to keep your attention throughout the span of the book. You have the aforementioned Arvin Russell, who witnesses some interesting prayer tactics on the part of his father, who is desperately attempting to enlist the help of the divine to heal his terminally ill wife The creative use and manipulation of religion and its true believers creates a stable of quirky people operating in separate story lines, touching only lightly until they collide in spectacularly horrific ways. Think “slow motion train wreck.”
Our cast of characters include:
Arvin and his parents, which we’ve covered enough without telling the story (I’ve mentioned I don’t do story recap, yeah?)
Arvin’s grandmother and the orphaned girl for whom she cares.
Roy and Theodore: When first you meet these two, Roy dumps spiders over his head as part of a sermon, accompanied by the guitar playing of wheelchair-bound Theodore. Theodore loves Roy.
The Flamingo Lady and Flapjack the Clown: Barely in the book, but a perfect place to mention them. (In fact, if you’ve gotten to the point where you’re reading that there is a character called ‘Flapjack the Clown,’ and are not already arranging to own the book, I can’t help you.)
Carl and Sandy: The depiction of this couple has to be the reason so many reviews of this novel mention Quentin Tarantino. I mean, I guess you can make a case for them evoking Mickey and Mallory, but it would be a weak case, indeed. I am not much a fan of reviews that compare the work being reviewed with other works with a greater resonance in pop-culture spheres. I hate to just dismiss it as lazy, but it IS lazy and often misses the mark. This here, is a great example. There’s a lot of violence. Does that make it Tarantino-esque? I wouldn’t deny the man is known for including a lot of bloody mess in his films, but I always think of the alluring dialogue in his films. There’s nothing in Pollock’s writing that will remind you of Jules and Vincent discussing Parisian fast food.
And, right after I called it lazy…
There is a LOT of violence here. I know some people are sensitive to that and will automatically be unable to move past it to see the strength of this piece, which is some highly stylized writing. If you’re reading it and can’t stop thinking of how violent it is, that’s obviously a problem. It reminds me of the first time I saw an episode of “Deadwood” on HBO. I hadn’t been following the story, so I wasn’t absorbed into enjoying the local color, characters or plot well enough to not hear the word “FUCK!” being exclaimed every fifth syllable. It kicked me out of the story again and again to where I failed to make the 30-minute mark.
Watching the series from the beginning, however, had a bit of a numbing effect to where I’m not sure I didn’t imagine how much they were cursing my first experience. Make no mistake; I’m aware there is still a lot of cursing, but now it just seems all part of that local color I learned to understand to enjoy way back in tenth grade when we discussed “The Outcasts of Poker Flats,” by Bret Harte.
Of course, the language in “Deadwood” doesn’t quite drive the action the way the violence does in “The Devil All the Time.” Not a perfect analogy in that sense. I was just trying to say you’d do well to look around the blood to get to the meat.
It’s probably fair to address a perceived flaw or two if I’m going to request you overlook something else.
Any reader is going to pick up a book with all these story lines and assume they’re going to be tied together at some point. The ways all the assorted characters are brought together when they’re brought together does give one a bit of a “Oh, COME ON!” reaction. I don’t wish to say “predictable” because I don’t think it is that, but there is an element of tidiness to it that is a bit incongruous with the messy lives of these characters. Ultimately, it’s not a huge deal. I mean, when you read a Jason Bourne book, you know he’s ultimately not going to be killed. Here, you’re put early in a position of knowing that something is coming and, hence, can somewhat see it coming at you. Again, doesn’t ruin it for me.
Essentially, you’re either going to like the style, tone, and storytelling capacity of Donald Ray Pollock or you won’t. I’d imagine this book and author to be somewhat polarizing in that sense. I’m going to call myself a fan, which means I may or may not admit to overlooking some things in favor of an overall joy of reading the book. This also means that, should you say it’s no good, I reserve the right to dismiss you with a “eh…what do you know?!”
DEVIL! DEVIL! DEVIL!