![]() That is where the horror story takes a break and the real world slips in again. ![]() One of the most poignant moments in the story is towards the end when the realisation of being broken, hence a possible danger to others, leads to a tragic decision. Toys equalling memories, which in turn make them more valuable to the child and the Thief. The ones with an essence of nostalgia, sadness and also moments of joy attached to them. Saying that, the Thief is attracted to the toys that hold a special emotional value to the child. Bad habit probably because sometimes a Toy Thief is just a Toy Thief, and not a Freudian slip. I have a tendency to look for the metaphor, the hidden and the deeper meaning. At times the border between what is real, dream and the Toy Thief are skewed. Gillespie brings horror, dysfunctional relationships and reality together, which gives the read a surreal aura. Something is in the house with them, a thing that wants their toys, until she realises it wants more than just their special toys. ![]() ![]() The often strained relationship between the two of them takes on another level when one evening Jack accidentally sees something she wasn’t supposed to see. ![]() First rule of sibling war strategy – siblings come before outsiders. Their Dad is barely coping and they have a hate-fight relationship barring one exception, nobody else gets to treat either one of them badly. Jack blames herself for killing her mother, and so does her brother Andy. It knew – has to be one of the creepiest sentences in this book. ![]()
0 Comments
Leave a Reply. |