What would you do if you could swap identity? How would your past ever catch up with you? Christopher Ransom‘s new novel The Orphan muses on these whilst musing on the root of some horror being teen hubris and actions.
Darren is a successful entrepreneur, seemingly with everything: a happy family and a BMX collection to die for. When a box fresh Cinelli bike appears one evening, he assumes that it is a gift. His daughter starts getting strange texts about an orphan who is coming home. Just as Adam is getting concerned about her boyfriend. Meanwhile a series or ritualistic murders take place, leaving the town in some fear and disarray.
The strange kid, Adam, is coming back as are the stories of his family.
Darren begins reminiscing about his own teen life, the BMXing and Adam, the outsider with the wrong bike. He remembers that Adam had saved for a Cinelli, only for him never to get it. The Faustian pact that he takes is a slightly far fetched one but comes from an unlikely source with teen bravado not thinking about any form of consequence.
Ransom sets up a psychological narrative in which we see the childhood as a time of torment and horror. Clearly not a subscriber to the cult of childhood innocence, he takes and almost Jesuit line about the childhood shaping the person. Rumour and myth become the drivers of the horror, manifesting themselves as real in the reckoning in the school. The loss of identity is keenly felt by the men, particularly Adam, who is determined to retain his own version.
The author develops a sense of unease in the book as he thins his world and our expectations as readers. Drawing from the idea that hastily made choices inevitably have consequences that not every one could realise, he comes back to the notion of the individual responsibility and parental trust. He develops a sense of unease and choice for the true nature of the world, hidden from each actor and variously glimpsed.
The reader is introduced to the driver of the horror, the sister, but we never really find out much about her other than her destructive dive. Her sexuality almost condemns her and we never find out why she is as extreme as she is, disturbingly. The tone of her inner narrative suggests that she is kept in some sort of repressed childhood, an adolescence never quite contended with or accepted and has become unremittingly evil. Oddly I find this slightly more disturbing than her acts.
The Orphan is a solid novel centred on the Faustian pact of choice. Ransom develops the atmosphere whilst the stories come together and the world, temporarily, becomes while before being necessarily fractured in a new way. The world can only be glimpsed before it must change and hide itself away again, in that way horror demands.