Slade House begins in 1977, in the first-person viewpoint of a thirteen year old autistic boy who stumbles into an unfortunate encounter with soul sucking vampires living in the eponymous house, which exists in a semi-magical bubble frozen at an exact moment some time around the second world war.
The next chapter begins nine years later in 1986 following a different first person character, a crass copper this time, who also comes upon Slade House and… if you’re experiencing deja vu by this point it’s because Slade House follows a very similar tract to that of David Mitchell’s recently published novel: The Bone Clocks. Indeed, it takes place in the same universe. Mentally, I referred to the books as the same title. As in, ‘I need to put down The Bone Clocks and go to sleep’.
And really, if you want to know what I think of Slade House, you can just read my Bone Clocks review. It’s exactly the same thing, with the same successes and shortcomings, on a much smaller scale. The sci-fi-hocus-pocus technobabble is a maybe a little bit too much in Slade House: one entire chapter (of a total of five) is spent on the villain’s backstory and how they created Slade House and we honestly didn’t need to know more about them beyond ‘We eat souls!’. But this is countered by the otherwise swift pacing — with the shorter, twitter-inspired chapters, Mitchell has no choice but to jump right into the story and he does not waste a word.
And, more Bone Clocks? Great! Two David Mitchell novels in one year? Even better.