Peter Straub’s Ghost Story holds a revered position in horror literature, often lauded as a masterpiece and even championed by Stephen King as one of the genre’s finest novels of the century. Having explored Straub’s later work, Koko, expectations were high for this supposed magnum opus. However, delving into Ghost Story reveals a narrative that, while possessing moments of merit, ultimately falls short of its lofty reputation, presenting itself as an overlong, somewhat messy, and ultimately overrated work. While Straub’s career may be punctuated by quieter successes, Ghost Story remains his most widely recognized title, often associated with his collaborations with King on The Talisman and Black House. Despite its esteemed place among critics and readers alike, and acknowledging its role in paving the way for the superior Koko, this review aims to dissect why Ghost Story, while respectable fiction, did not resonate as deeply as anticipated.
One of the initial hurdles in engaging with Ghost Story is Straub’s deliberately paced storytelling, a characteristic also observed in Koko. While a measured approach to narrative development is appreciated, allowing for character depth and intricate plot layering, in Ghost Story, this pacing verges on sluggishness. Authors like King, Blatty, and Crichton masterfully employ slow builds to enhance suspense and character investment. Straub attempts this, and indeed, excels at crafting characters who feel remarkably real and multifaceted. He invests considerable effort in fleshing out the Old Drunks Club, the central figures haunted by a shared past and supernatural repercussions.
However, despite the detailed character work, the emotional connection to these individuals remains surprisingly weak. Ricky Hawthorne, intended perhaps as the relatable everyman, comes across as bland and unremarkable. His defining trait, at least during the reading experience, was suffering from a cold, a relatable ailment but hardly compelling for character engagement. While Sears James exhibits a touch more personality as the impatient and irritable leader, and Lewis Benedict presents a more intriguing, albeit flawed, character with his womanizing tendencies, they still feel somewhat archetypal rather than deeply resonant. Even the comparisons drawn to characters from Salem’s Lot – Don Wanderley and Peter Barnes likened to Ben Mears and Mark Petrie – highlight a sense of familiarity rather than unique character development.
Furthermore, the female characters, particularly Stella Hawthorne, are portrayed in a less than flattering light. Stella’s character arc, marked by infidelity and a perceived shift in blame, makes it challenging to garner sympathy or affection for her. This lack of compelling characters contributes to the overarching feeling of coldness that permeates Ghost Story, mirroring the dreary atmosphere of Milburn, the town where the story unfolds. Unlike Koko, which despite its slow pace, possessed a certain “soul,” Ghost Story feels emotionally detached, failing to fully immerse the reader in its world and characters.
Even in scenes intended to build suspense, such as Peter and Jim’s infiltration of Eva Galli’s house, the pacing remains frustratingly protracted. What could have been a taut, gripping sequence is stretched across multiple chapters, diluting the tension and impact. This over-extension of suspenseful moments is symptomatic of a broader issue: the payoff rarely justifies the extensive build-up. When the narrative threads finally converge, the revelations often feel disproportionate to the time invested, akin to an excessive and overwhelming climax that lacks finesse.
A significant point of contention lies in the nature of the antagonists. Despite the title Ghost Story, the creatures terrorizing Milburn are not traditional ghosts but rather shape-shifting entities that defy conventional spectral expectations. This deviation from the implied premise is not inherently problematic, but the execution of these monsters renders them surprisingly un-intimidating. Instead of evoking genuine fear or unease, they often come across as somewhat ludicrous, undermining the intended horror. The creatures’ ability to reincarnate and their penchant for toying with their victims further diminishes their menace, making them feel more like ineffective villains than genuinely terrifying supernatural threats.
While isolated moments of creepiness exist, such as Sears’s unsettling recollection of his time as a teacher, these instances are fleeting and fail to generate sustained dread. The book lacks the pervasive sense of unease that characterizes truly effective horror. The monsters, despite their shape-shifting abilities and sinister intentions, simply do not instill fear. Compared to the ethereal and often tragic ghosts found in works like The Sixth Sense, The Changeling, or What Lies Beneath, Straub’s creatures lack the nuanced horror of spirits bound by their ethereal nature and driven by unresolved trauma. Instead, they are self-aware, almost boastful entities that fail to deliver on their intended terror.
Comparisons to Stephen King are inevitable, and while some Goodreads readers draw parallels, Ghost Story unfortunately shares flaws with some of King’s less celebrated works, such as pacing issues and occasionally underwhelming antagonists. However, unlike King’s stronger novels like Salem’s Lot, The Shining, and Carrie, Ghost Story lacks redeeming qualities that elevate it beyond its shortcomings. While not a terrible novel in its entirety, Ghost Story ultimately suffers from the weight of its own reputation. Expectations set by its acclaim and Straub’s established talent create a higher bar that the book, in this assessment, does not quite clear. It possesses the potential to be exceptional, but ultimately settles for being merely decent.
In conclusion, Ghost Story by Peter Straub, while a significant work in horror fiction, ultimately emerges as an overrated title. Its slow pacing, somewhat uninspired characters, and underwhelming antagonists prevent it from achieving the status of a true horror masterpiece. While Straub’s writing prowess is evident, and the novel holds a place in horror history, readers seeking truly terrifying and deeply engaging ghost stories might find more satisfaction elsewhere. For those interested in exploring Peter Straub’s work, Koko and Lost Boy Lost Girl may offer a more rewarding reading experience.
