Sorrowland

Solomon is fearless in faer depiction of queer sexuality and unafraid to let it be selfish, feral … Nothing about Solomon’s work attempts to be ‘acceptable,’ or, rather, it explicitly questions what acceptability means, rejects it, and rejects whomever is creating those rules of presentation … Sorrowland both is and is not a horror story, both is and is not Gothic. There is never a moment of violence or pain that is not psychologically worked-over, never senseless hurt, never without remorse or consideration. It is never simply grotesque, but instead the acts of violence or monstrousness in this novel feel deliberate and revealing. However, I’m not sure I ever felt a sense of dread or hopelessness that typically characterizes Gothic horror fiction. I believed in Vern’s strength and rooted for her.

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