As part of r/horrorlit’s Horror Novel a Day writers, I’m pretty sure of two things: I took on too many novels (six total) and my definition of horror is suspiciously broad.

Take The Hawkline Monster by Richard Brautigan. It’s more of a gothic western novella than a horror novel. (It is in fact subtitled A Western Gothic.)

But isn’t deception a solid component of plenty of good horror? I don’t mean my deception of being well-versed in horror novels; I mean the deceptive simplicity with which Beat poet/author Brautigan offers the story. By the time you turn the first page of a chapter you’re almost to the next one. Events unpack in sentences so efficient Hemingway would weep:

The voyage from San Francisco to Hawaii had been the most terrifying experience Greer and Cameron had ever gone through, even more terrible than the time they shot a deputy sheriff in Idaho ten times and he wouldn’t die and Greer finally had to say to the deputy sheriff “Please die because we don’t want to shoot you again.” And the deputy sheriff had said “OK, I’ll die, but don’t shoot me again.” “We won’t shoot you again,” Cameron had said. “OK, I’m dead,” and he was.

Characters deceive the reader and others; someone exists and then doesn’t; twins’ identities meld and split fluidly. The nature of the Hawkline Monster itself is a creative bit of fearful imagination from a haunted poet whose life ended in suicide. The places the monsters hides…!

My journey to The Hawkline Monster began with this PWxyz entry. Gabe Habash’s passionate recommendation might have led me to make a note of the book (from the blog: “Honestly, I’m working really hard to not slip into hyperbole here, to refrain from lapsing into a vocab commensurate with the heights of my appreciation for it. This book is the real deal. I can’t recommend it enough. … Do yourself a favor and give him a try. If you don’t like him, I’ll eat my shoe like Werner Herzog.)” but what urged me to buy the book immediately was Habash’s insistence that only Cronenberg could do justice to a hypothetical film of the story. Cronenberg’s film style is very much to my tastes (the guy’s acting– Cabal, Last Night— also assures him a big warm soft spot in my heart).

While I initially read the book through a Cronenberg filter it was impossible not to love the sparse style on its own merits. One of the ways simplicity aids horror is to lull and fool: the process of reading involves moments of “Uh huh… unfolding as expected… wait, WHAT?” A character dies not through violence but through identity obliteration. (To voluntarily kill a part of yourself that has served its purpose is not terror, but to undergo involuntary mental manipulation is. This book has both.) The monster fights with anger and light. Ice caves under the house keep the grounds in a perpetual state of freeze even in summer. A basement lab holds The Chemicals, the final experiment of a Harvard scientist who enjoyed his teaching position until one of his experiments got loose and ate the family dog in front of the neighbors’ wedding party. A 1902 setting allows for Wild West elements like gunfights, hired guns, hanged men, and brothels. It is a flavorful read.

“All the things that happen are like children’s pranks except the child has supernatural powers,” says one character, and if there’s one thing that horror teaches us it’s that children with undue power wield it in horrific ways (thanks, Twilight Zone). While nighttime shivers are unlikely, The Hawkline Monster deserves a place in a thoughtful horror canon on the basis of its dissection of what is frightening and how to write about it.