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Review: ‘The Twelve’ by Justin Cronin


Justin Cronin

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Updated: November 22, 2012 6:20AM

In 2010, just when we’d all had enough of Bowflex vampires, the Count got a desperately needed transfusion from an unlikely donor: An English professor at Rice University named Justin Cronin had been patiently digging in the graveyard of literary fiction for 20 years. He’d graduated from the Iowa Writers’ Workshop. He’d received nice reviews and won a PEN/Hemingway Award and a Whiting Award — prizes that can drive dozens of people to buy your books.

But then his daughter suggested he write about a girl who saves humanity from destruction, and the undead swooped in with a multimillion-dollar book-and-movie deal.

“The Passage,” Book 1 of Cronin’s vampire apocalypse, was the scariest, most entertaining novel I’d read in a long time. The story described a government experiment that accidentally unleashes a dozen rapacious vampires who kill or enlist almost everyone in the United States, toppling the government, destroying the economy and leaving the country with just a few isolated pockets of terrified survivors struggling to keep the lights on. Somehow, the author of such quiet, tender stories as “Mary and O’Neil” had a facility with suspense and terror that could make you check the locks (twice), mix up a garlic smoothie and rush through pages till long past midnight. Here were the necrotic limbs of classic horror and biomedical thrillers zapped back to life by a writer of engaging characters, transporting scenes and elegantly creepy language.

Now, finally, comes the long-awaited second volume, and as much as it pains me to say it, “The Twelve” bites.

Fans will remember that Book 1 ended with a heart-pounding confrontation and chase scene. We’ve all been waiting to see what happens next to those valiant warriors, but “The Twelve” (Ballantine, $28) opens at the speed of a zombie crawl. Inexplicably, we’re back at Year Zero, when the vampires first escaped from a secret Colorado lab. Not that there’s much drama involved this time around: These snapshots of collapsing civilization seem incidental compared with the cacophony of panic that Cronin created in Book 1. Given what we already know, this 150-page interlude involving a grieving mother and a Machiavellian government official is all backing and filling.

What’s truly bizarre is that a novel so burdened with exposition manages to provide so little necessary explanation. Don’t even think about starting this volume if you haven’t committed the first one to memory. In “The Twelve,” disembodied presences whisper enigmatic messages; characters you thought were dead aren’t (sort of); everyone suffers from old traumas they don’t want to talk about. Names, places and references to previous events churn through these pages in a soporific blur. The first excitement saunters in around page 200, when a couple of brave soldiers from Book 1, Alicia and Peter, are tracking down one of the original 12 “virals” in a cave. But even that spooky scene is over before you can say “Vlad the Impaler.”

Again and again, suspense is drained away by the book’s choppy structure as though the dastardly government virus that caused vampirism also caused attention deficit disorder. But if you hang on till page 300, you’ll make it to the Homeland in Iowa, almost 100 years in the future. Here, 70,000 hopeless people are kept imprisoned by a class of collaborators who stay eternally young (and sterile) by sipping infected blood. If not exactly frightening, this section at least lets an engaging story develop about a despotic bureaucrat, an insane queen and the wily rebels determined to bring them down.

Alas, the ending of “The Twelve” delivers only a pale version of the thrilling climax of “The Passage.” And the whole story offers all the sexual tension of a middle-school summer-reading book. What’s really missing, though, is that unsettling sense of the alienness of the future that Cronin conveyed so tremendously in his previous volume.

The light hasn’t completely gone out of this series, but beware: It’s fading into “Twilight.”

Washington Post

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