Publishing tomorrow: The Orange Eats Creeps, w/intro by Steve Erickson. Here’s a quote from a short review.
Krilanovich is borrowing elements here from pulp horror, but it’s key that an unseen killer is far more sinister than either the gang of vampires or an ominous street that resurfaces throughout the book. Her novel shares a disorienting quality with the final section of Brian Evenson’s The Open Curtain, in which time, character, and action collapse in on themselves. That actions are horrific isn’t the only thing at work here — there’s also the way in which actions begin to blur and lose cohesion, which is in its own way even more horrific. And in the end, the most resonant pit-of-your-stomach dread doesn’t come from a roadside killer or fangs poised above a neck. Instead, it’s a much simpler scene, something rooted in mundane indifference that brings this novel to its unexpectedly domestic and achingly painful conclusion.