First Edition (2014)
First Reissue Cover
First published back in March of 2014, Matt Shaw and Michael Bray’s novel ‘Art’ offered up an extreme serial killer thriller co-written by the two highly revered UK horror authors.
The novel was originally published as one of Shaw’s ‘Black Cover’ offerings, before later being reissued under alternative covers.
Damon Benton wasn’t his real name. In fact, it was the third fake name he’d used, with even more identities attached to a string of credit cards he kept ready for use. He was now getting to the point where he could barely remember his real birthname.
Damon Benton had been hiding his true self behind these fake personas. His outward exterior was that of a security guard for a local art gallery. But behind this lay a much darker being. An individual who saw the true darkness within our world. Someone who saw, felt and embraced the harshness of life. A man who ached to finally fulfil a lifelong ambition. He longed to exhibit the true cruelty that’s embedded within our very existence.
He'd engage people in conversation, even if only basic and brief, purely because it was good practice for him. It ensured he remembered to keep his happy face on. The mask he hides behind.
But now it was finally time for the darkness to reveal itself. Although he wasn’t yet ready for his image to be within the public domain. Not until he’d finished his work, at which point he wanted the whole world to know who he is. He wanted the world to know the man behind the mask.
His work would serve two purposes; both of which were equally important. On the one hand it would help rid the world of the parasites who darkened our days, and on the other hand, his art was beautiful. Exquisite in its capturing and exhibition of absolute despair.
When Detective Martin Andrews was called out to the dank hotel in the outskirts of the city, he hadn’t expected anything like the atrocity that was displayed within that grubby room. During his career, Andrews had witnessed the tragic outcome of numerous acts of violence and cruelty. However, nothing prepared him for the sheer evil laid out within that small room, as an exhibition of absolute depravation and defilement.
The whore’s body had been savaged, flesh ripped open and her innards displayed beneath in a symbol of degradation. The corpse itself, suspended by thick wire threaded deep into the flesh via large vine-eye fishing hooks. This was more than murder. This was something far more disturbing. A sadistic display. A work of despicable, atrocious, deplorable coldly calculated art…
Here we have an early offering from the hugely prolific extreme horror author Matt Shaw, which is also the first example of Shaw co-writing a novel – here with fellow horror author Michael Bray. This didn’t turn out to be a one-off gig too! The duo later worked together again, co-writing the hugely popular novel ‘Monster’ (2015) which was later made into the feature length film of the same name.
Anyway, essentially, what we have here is an extremely dark and twisted serial killer thriller. Think David Fincher’s ‘Se7en’ (1995) only with more guts, gore and savage depravity on show. In fact, it follows a very similar narrative and similar themes, with our troubled detective trying his damned hardest to bring this psychopathic murder’s depraved work to an end.
Throughout the entirety of the novel, the storyline jumps back-and-forth between the perspectives of Detective Martin Andrews and that of Damon Benton. Because of this we get an inside view of how the whole cat-and-mouse chase evolves, with Benton always a good ten steps ahead of the police.
However, what’s far more compelling is the inside perspective we have of Benton’s mind, his motivations, his twisted ambitions and the utterly fucked up reasoning he has for what he’s doing. We find out how the lasting memory of his unsupportive and uncaring parents still haunts him; despite them both being deceased. We observe the emotional baggage Benton carries around with him and the incel like lifestyle which starts to crumble as his sexual desires are ignited.
This ultimately leads to a series of graphic scenes of visceral horror. We’re talking necrophilia, dismemberment, and imaginative displays of the desecrated corpses. Oh yes, Shaw and Bray don’t hold back one fucking bit with how far they’ll push the envelope with their gruesome scenes of defilement.
The inclusion of a runaway teen who breaks into Benton’s parents’ empty house adds a further level of uncompromising nastiness to the tale. The troubled teen is already a victim, and your heart can’t help but go out to her. But there’s no such compassion from Benton. No chance. This vicious bastard has absolutely no moral compass, no humanity within him, just a fucked up ultra ego and a psychotic darkness.
The pacing of the novel is tight and without a hint of detour. There’s no padding, no wasted breath, and no let up from the constant drive forward with both character perspectives. As you would imagine, this sense of urgency is intoxicating. It keeps you deep within the chaos and carnage. Compelled to keep going, desperately needing to find out how this all ends.
So, the links with ‘Se7en’ (1995) are evident throughout the novel. You can clearly see the two authors have taken inspiration and ideas from the film – perhaps alongside aspects of ‘Red Dragon’ (1981), ‘The Silence Of The Lambs’ (1988) and ‘Hannibal’ (1999) – and then run with their own version of a gritty serial killer thriller.
The end result is a gripping and horrific read that’s drenched from head to toe in cruelty and savagery. We have a psychopathic and ego-driven nutter, unsettling us with the cold detachment he exhibits to it all. Of course, all over this we can see the bloody fingerprints of Shaw and Bray working is messed-up harmony.
The novel runs for a total of 229 pages.
© DLS Reviews
