"Horror fans who think that they have a firm grasp of the genre will reevaluate that assessment after experiencing Knifepoint Horror....these besieged narrators encounter such monsters as demons, restless spirits, the walking dead, otherworldly techno-horrors, and humans who have lost all touch with reality. They see witchcraft, necromancy, and things that simply defy explanation. Their stories vary in length, depth, and intensity….even the shortest tales are original and gripping.…all in all, Narnia’s tales are powerful and offer unadulterated horror. Rather than confounding the stories, the book’s unorthodox style adds intensity. A reader could easily become hooked on this new subgenre and may only hope that a second book is forthcoming."  

-From Necropsy: The Review of Horror

In knifepoint horror, a unique genre which demands rawness and minimalism,  anguished souls relate their stories in blank, colorless prose devoid of distracting literary tricks. Here you will find no entry into the thoughts of any characters other than the narrator’s, no standard passages of dialogue, no humor, no romance, no extraneous gore. The twelve stories inside this book spill forward with no page breaks or even traditional paragraph breaks. Written in cold, emotionless capital letters, they take the form of uninterrupted confessions, creating an effect of pure campfire terror. Knifepoint horror strips away all the tired conventions which water down traditional horror fiction, leaving nothing but the story's riveting spine.

A man hired for a day-long videography job relates what he saw when he walked the streets of a small town with a stranger determined to find the cause of the area's supernatural unraveling. A graduate student tells of an awful descent into addiction and madness which exposed him to a string of sinister people and events, ending with a demonic possession more frightening than death. Childhood memories are revealed by an adult still tormented by images of the elementary school where one winter's freakish occurrences made people believe in the darkest aspects of the beyond. A channeler determined to draw out the ghost of a murderer undergoes a long secluded night of terror and transformation. Each of the untitled tales is told in the first person, beginning with a simple statement of the narrator's name. The reader is thrust deep into the stories within seconds and kept there throughout as the prose allows no room for digression. These voices are not filtered through a writer’s long-winded artifice; they do not stop for extensive descriptions of settings, personalities, or emotions, and their trauma is too great to expound upon what it all means. What they have seen, heard, and done must simply spill out rapidly on the page lest they go insane. 

Get into bed, dim the lights, and enter. Not recommended for anyone under 18. The book retails for $18.95. This copy is in excellent condition.

PayPal, check, or money order accepted as payment. No international bidders, please. U.S. bidders pay just $1.99 shipping.

Preview some of the book’s contents at www.soren-narnia.com.

THE DICTATES OF KNIFEPOINT HORROR

1) The story must be told in the first person, and begin with a simple statement of the narrator's name.

2) There can be no entry into the minds or voices of characters other than the narrator’s.

3) No standard exchanges of dialogue can be included.

4) Regardless of the length of the story, there can be no chapter, sectional, or even paragraph breaks. It must be revealed in the uninterrupted grammar of someone who simply cannot stop until the story is fully told. Changes in a line of thought can only be noted by a simple mark between sentences.

5) Extensive descriptions of settings or characters which do not propel the story forward are anathema to knifepoint horror. The genre focuses entirely on the unfolding of the story's essential spine.

6) The story must be written so that it authentically mimics the sound of one person relating a chain of events to another through a rudimentary personal confession, single long journal entry, or oral account. Literary devices such as extended flashbacks, non-linear structures, diary or epistolary formats, or other unusual techniques dilute the intent of knifepoint. Forbidden are such tools as prologues and epilogues, one-sentence paragraphs designed for shock or suspense value, introductory quotes, asides, and any hint of humor or romance.

7) The story must be told entirely in cold, emotionless uppercase letters.