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The Home
- GenresShort Stories
8 pages, Paperback
First published May 1, 2015
9 people want to read
About the author
Tom Fletcher
24 books1,021 followersLibrarian Note: There is more than one author by this name in the Goodreads database.
Tom Fletcher is a writer of horror and dark fantasy novels and short fiction. His first three horror novels, The Leaping, The Thing on the Shore and The Ravenglass Eye, were followed by Gleam and Idle Hands, the first two books in The Factory Trilogy, his first fantasy series. His new novel, Witch-Bottle, is a deeply atmospheric modern gothic tale of grief and guilt. He lives in a remote village in Cumbria with his wife and family.
Tom Fletcher is a writer of horror and dark fantasy novels and short fiction. His first three horror novels, The Leaping, The Thing on the Shore and The Ravenglass Eye, were followed by Gleam and Idle Hands, the first two books in The Factory Trilogy, his first fantasy series. His new novel, Witch-Bottle, is a deeply atmospheric modern gothic tale of grief and guilt. He lives in a remote village in Cumbria with his wife and family.
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Displaying 1 - 2 of 2 reviews
March 19, 2021
The Home was the shortest of the first three chapbooks I read from Nightjar Press, and also the most immediately weird. A man sits in a strangely furnished room - concrete, but with flock wallpaper and a rustic painting hanging on the wall. In the corner is a TV screen, on which he watches his wife attempt to escape from a towering menace known only as 'The Home'. To say any more than that might give the game away, although the ending of the tale is left open to interpretation. I do wish this had been a bit meatier, with a little less ambiguity - but all the questions its plot raises make it undeniably intriguing.
January 13, 2021
“The landscape has no edges. It goes on forever. There is nothing to see.”
This tellingly crosses themes with the return of the wanderer wife and the ‘home’ as skulljar, here as TV screen, in two previous Nightjars I have just read.
In itself, it has a traction of intriguing, worrying build-up, seeing one’s wife on the screen, unable to help her, a ‘jar’ that contains an endless emptiness as well as a claustrophobic relationship. The ending is highly disturbing.
This is only about three and half pages. I say ‘only’ but it does seem significant that something so physically slight but equally so complexly meaning-full is contained within the quality covers and sleek paper of a single svelteness of container. The overall gestalt works, the story working for the format, and vice versa, something that I have found true about all these Nightjars so far.
This tellingly crosses themes with the return of the wanderer wife and the ‘home’ as skulljar, here as TV screen, in two previous Nightjars I have just read.
In itself, it has a traction of intriguing, worrying build-up, seeing one’s wife on the screen, unable to help her, a ‘jar’ that contains an endless emptiness as well as a claustrophobic relationship. The ending is highly disturbing.
This is only about three and half pages. I say ‘only’ but it does seem significant that something so physically slight but equally so complexly meaning-full is contained within the quality covers and sleek paper of a single svelteness of container. The overall gestalt works, the story working for the format, and vice versa, something that I have found true about all these Nightjars so far.
Displaying 1 - 2 of 2 reviews