Jack Ketchum

A family of savage murderers preys on unsuspecting tourists on a small island off the coast of Maine.

Off Season

Isabela H 

This was one of my first real experiences with darker darker reads, and I went in with 0 expectations. I had absolutely no idea what to expect, so all of the shock factors really hit me. I definitely enjoyed the book once I adjusted to all the gross things I was reading about. 
I really like books that are so perfectly descriptive that I can imagine the scene as a movie, and there were so many of those scenes in this book, especially the last scene. 

I recommend this book as a good introduction to slasher-type books where readers are looking to get shocked. I do not recommend this book if you're squeamish, you'll be uncomfortable in the worst ways.

Dee B. 

illa

Introduction by Douglas E. Winter. Afterword by Jack Ketchum

The Unexpurgated Special Edition

petit-chocobo

I didn't expect to be that disappointed. This felt so meh to me, just gruesome bits within a plain and as basic as a plot can be. All the breasts descriptions annoyed the heck out of me, they were no women, just sticks with "bare breasts", "naked breasts", "quivering breasts" and "nipples that stiffened". Also, OF COURSE ONLY THE WOMEN ARE BEING PHYSICALLY AND SEXUALLY TORTURED! and the men get to be the heroes! even the savages manage to be misogynistic, like come on, the men savages are dressed but not the women? and all we hear about is how naked their breasts are and how pleased they are to be the cave "whores". I know this is from the 80s but come on.... anyway, it's not even remotely scary, there's no atmosphere, no tension, just random and very explicit sex scenes and some limbs choppings (don't forget the bare breasts, they are the real protagonists here). 
this is my first jeff ketchum and if i was hesitant before about reading the girl next door, i'm not anymore. There's no way I want to read these poor girls being over sexualized and sexually tortured, especially knowing it's based on a true event that still haunts me. no thank you.
I may try his other books but i don't have high hopes.

naomi

this book was a struggle to finish for a two reasons:

the characters
the characters were so unlikeable, especially the men. it was so obvious that this book was written by a man, it was just full of objectification of women. 

the storyline
everybody praises this book because it's 'raw' and 'disturbing' but i was bored. it was just so predictable.

★2/5★

Jordan Robinson

Bryan Alexander

I've been meaning to read this notorious 1980 horror novel for years, given its reputation. I suspected it was an antecedent to much in subsequent genre fiction, including splatterpunk. I was curious about why it was badly marketed and possibly censored (and so pleased to read the author's own edition here).

Brief spoiler-free summary: Off Season is about a group of friends encountering an American version of the Scots Sawney Bean family. A group of friends in Maine is ambushed by cannibals, and much, much violence and gore ensue.

As horror entertainment the novel certainly succeeds. Tension established quickly, the action sets in soon after and doesn't ever slow down. Protagonists, although sketched lightly, are sympathetic. The cannibals are fascinating (see below). The struggle is energetic, terrifying, and very well told. You might look outside with a shudder afterwards, or rethink tasty sausages.

The style is very direct, post-Hemingway, concrete and manly. There is no humor, beyond early banter between the protagonists; the cannibals' laughter, in contrast, is supposed to be terribel. This is dead serious. There aren't many lyrical passages, but I do admire some, like this sudden burst:There were crickets in the tall grass and they fell silent too as the women walked by, and there was a moment of deep quite that surrounded the house and then passed like a hand passing through the flame of a candle. (Kindle location 709)And the bitter last lines, like noir, and foreshadowing Andrew Vacchs:...she could see only the slowly brightening sky and the telephone wires that seemed to glide slowly along above her as they drove the smooth new tarmac. The wires were studded with wooden poles, like dark stab wounds in the flesh of morning. There is an additional moral layer in the text, a relatively quiet sense of outrage, perhaps echoing fellow Mainer Stephen King, or fierce moralist Harlan Ellison. The villains' lack of human feeling, for instance, is constantly noted.

Although the text is mostly devoted to describing action and violence, the novel is definitely engaged with certain literary themes and references. Obviously it partakes of the classic American redemption through violence narrative (pace Richard Slotkin), but while there is plenty of violence, there's no redemption. This nihilism (not so much as tragedy) draws on post-Vietnam American culture (remember this appeared in 1980). Indeed, one of the protagonists is a Vietnam vet, and others compare the desperate struggle to combat.

There are nods to contemporary horror films. The finale - without spoiling - echoes that of a classic 1960s movie, and Ketchum admits this in an afterward. I'm pretty sure The Hills Have Eyes (1977) is a strong influence, from the remote violent clan down to the appearance of one of their members. There is also a use of a trope that appeared in 70s horror, which would become a favorite in horror movies since:(view spoiler)[
  the final girl
 (hide spoiler)].

There is also a grinning, ironic love of American wilderness stories. Our protagonists set up in a remote rural cabin - yes, that is going to be a favorite setting for horror films, with The Evil Dead appearing the next year - but what's more important here is that gesture towards returning to the countryside. The cabin couples are city folk, as we learn early on, and look forward to a rural interlude. Moreover, the cannibal clan is the flipside to classic stories of wilderness survival, as they certainly do succeed in maintaining themselves without industrial technology, other than a few scavenged items. Ketchum depicts their ways of making clothing, shelter, and food in careful, almost recipe-like detail. There are also nods to the western (2100).

Off Season also reaches further back, I think, to a current in 19th-century horror stories wherein the author strove to get across with semi-scientific detail what it would be like to experience an extremely bad situation. Poe is the best known exemplar of this, of course, as he generously explored what it would be like to be trapped in a pit under a pendulum, or to be buried alive. Ketchum spends a great deal of time in characters' mental states, taking us through their changing consciousnesses as they fight, feast, scheme, are tortured, and killed. 

So how does this novel hold up nearly 40 years after publication? The gore and violence, while plentiful and effective, are not nearly so shocking to readers accustomed to subsequent horror novels and movies. As a lifelong Gothic reader and scholar, I am pretty jaded, but confess to being surprised by the scenes of repeated violence against children - not abuse, but combat. As I said above, it's gripping stuff.

In an afterward Ketchum mentions outraged readers, publishers, and cultural guardians. I was expecting to learn of conservative protests, but also read that the Village Voice, that New York quintessential liberal newspaper, apparently howled in protest. There is an echo in our time, with the current progressive concern for content warnings. Perhaps a generation of experimentation and boundary-pushing occurred between 1980 and 2017, and we're seeing it start to wane.

So I recommend it to horror buffs. It's a fine read, and important in the genre.

Off Season

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