Instead, we get a fast-moving narrative devoid of filler. Extended internal monologues, angst-filled musings on the Horror Of It All, and multi-page flashbacks don’t make an appearance. The dialogue is believa ble, and authentic to the novel's London locale. 'Bloodworm' is a well-written book Halkin adopts the spare, uncontrived prose style of James Herbert. As they feed, the loathesome worms turn pink….then red….hence the term ‘bloodworms’.īefore the authorities can quite grasp the nature of the menace, the beetles and their bloodworm allies begin an inexorable spread throughout the city….and London comes to know the meaning of true horror… These worms fasten their sucker-like mouths on hapless victims and drain their blood. As the infestation grows, Archer, and the public health workers and police officers who call on his expertise, make a disturbing discovery: in some instances, wormlike creatures the size of cobras are appearing alongside the beetles. Guy Archer, a former British Army officer, is one of the lucky few to survive an encounter with the beetles. In short order the beetles get to work on other victims, and the body count rises.
Set in a rundown London neighborhood, in the cheerless days of early Spring, within the first few pages of the novel a wino (er, excuse me, Homeless Person) becomes fodder for vicious, flesh-eating beetles.
Rather, his readers wanted gruesome monster action, without any ancillary crap. With the type of novel that ‘Bloodworm’ represents, Halkin knew he was not being asked to deliver a moody tome, preoccupied with psychological horror and existential malaise. The covert artwork is uncredited.Īuthor John Halkin published several other ‘creature’ novels in the 80s, including ‘Slither’ (1980), ‘Slime’ (1984) and ‘Squelch’ (1985). ‘Bloodworm’ (251 pp) was published by Guild Press in 1988.
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