After reading THE TERROR a few years ago, I knew Dam Simmons could write, but I didn’t know how well he could write until I finished SUMMER OF NIGHT, a book that was a Christmas gift which sat on my shelf a few years too long – I was really denying myself a great read. Simmons’ mastery of character, place and time is among the best, and the traits of a true storyteller.At first glance, SUMMER OF NIGHT appears to be nothing more than another nostalgic coming of age horror story set in a small town in 1960; the kind where only the adolescent protagonists catch on to the supernatural evil in their midst and have to fight it on their own. This plot is an old horror trope, same for the small town in America with dark secrets no one will talk about, where and ancient evil has lain dormant until just the right moment to come back to life, but these seeming clichés are so well handled by Simmons, the reader hardly notices. The central characters are a group of boys around the age of 12, some slightly older, others slightly younger, who are best buds in the 6th grade at the Old Central Elementary School in Elm Haven, Illinois. Their home situations are varied and different, so are their temperaments and personalities; one of the great strengths of this book is how much Simmons makes you care about and fear for Duane, Jim, Mike, Kevin, Dale and Lawrence. And their small town world is so well laid out that the reader will come to see it perfectly in their minds: the tree lined streets and the stores on Main, the dirt country roads with cornfields on either side. We can feel the heat and smell the humidity ahead of a thunder storm. One of the essentials of these stories is a well established sense of mood and place and Simmons pulls it off with flying colors.Though it is set in the summer of 1960, Simmons does not turn it into a trip back to AMERICAN GRAFFITI, instead the nostalgia the author evokes is for a time when the most priceless thing a boy could own was a second hand bicycle, followed by a baseball glove. A time when kids had the freedom on summer vacation to walk out the door first thing in the morning and not come back until dinner was on the table and no one thought anything of it. It’s a nostalgia for a time when kids were expected to amuse themselves for hours on end in a time before childhood and adolescence were overwhelmed by a loud, overbearing and ostentatiously sexy popular culture that treated kids like consumers; a time when small towns still thrived, long before automation, outsourcing, globalization and Wal Mart were even on the horizon. It might be the summer of ‘60, but the nomination of JFK is mentioned maybe twice as an event that is happening very far away. On the last day of school, one of the boy’s classmates, Tubby Cook, goes missing in Old Central, the same day that the peal of a long silent bell is heard. Soon our young protagonists begin to suspect that their teachers and principle were involved in the disappearance. As they try to get to the bottom of the mystery, a figure in a World War I uniform is seen lurking on the back roads, faces appear at windows in the night while other figures lurk in the darkness; shadows dart out of closets and hide under beds, things stir inside crawlspaces and basements; holes leading to tunnels under the earth are found, and as they learn more, a huge rendering truck begins to stalk the kids. Though they might be scared as hell, they also have plenty of grit, and knowing that the adults would not believe them, the boys – along with one girl - decide take on the evil in their midst, a battle that ultimately becomes a war – one that claims casualties before the final confrontation. There is a twist about half way through the book, one that will leave many readers picking their jaws up off the floor, while others will be profoundly grief stricken. The fact that so many fans of this book have commented on their emotional reaction to this event is one sign this book has really connected. My favorite scene is when Jim and Dale turn the tables on the town’s punk ass bully and back him down when they are forced to turn to him for help in a particularly desperate moment. The section of the book where the kids attempt to bait the evil rendering truck into a showdown is among the best things I’ve read in a horror novel in a very long time. And among the well drawn supporting characters, none stands out better than Cordie Cook, one tough piece of white trash; only tell her that at your peril.The book is not perfect, one flaw is the villain, whose motivation and objective is never made clear – it’s just an ancient evil that takes possession of those closest to it. But that is a weakness of many, many horror tomes. At least one character, Mink Harper, the town drunk, is brought in at one point to just relate, in great detail, pertinent information from the past to Mike; another trope that many horror writers use. SUMMER OF NIGHT can be described as a slow build, it takes it’s time setting the stage, but it is so well written by Simmons, that I didn’t mind; the chapters are just as long as they need to be, the character POV’s are will established and the sentence structure flows naturally, helped along with a great ear for metaphor and simile. SUMMER OF NIGHT is often compared to Stephen King’s IT, and it is an apt comparison, but for me, SUMMER might just be the better book. It’s much shorter than King’s work and the story stays within the past, my paperback copy comes in just under 500 pages. It has been a few decades since I read IT, and though the book is one of King’s most popular, I remember it as bloated and indulgent in some parts; all of the contemporary story elements could have been edited out, leaving just the story of the kids in Derry, Maine in the 50’s, and it would have been a better book. And Simmons never lets his young heroes go off the rails like King lets his young protagonists do – I’m talking about that certain scene in the sewers, and if you’ve read King’s book, you know what I mean. One thing IT has over SUMMER is villains; nothing can top Pennywise the Clown.One last thing, why hasn’t SUMMER OF NIGHT not been made into a movie? Its cast of young characters would be perfect for Stephen Spielberg; would love to have seen what POLTERGEIST era Tobe Hooper could have done with it. Someone in Hollywood has dropped the ball.