Koji Suzuki: Edge
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Edge begins
with a massive and catastrophic shifting of the San Andreas fault. The
fears of California someday tumbling into the sea–that have become the
stuff of parody–become real. But even the terror resulting from this
catastrophe pales in comparison to the understanding behind its
happening, a cataclysm extending beyond mankind’s understanding of
horror as it had previously been known. The world is falling apart
because things are out of joint at the quantum level, about which of
course there’s never been any guarantee that everything has to remain
stable.

Koji Suzuki returns to the genre he’s most famous for
after many years of “not wanting to write any more horror.” As expected
from Suzuki, the chills are of a more cerebral, psychological sort,
arguably more unsettling and scary than the slice-and-dice gore fests
that horror has become known in the U.S. Never content to simply do
“Suzuki”–as it were–but rather push the envelope on what horror is in
general and for which readers have come to know him, Edge
borders on being cutting-edge science fiction. The author himself terms
this novel, which he has worked on for some years, a work of “quantum
horror.”

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