By the Light of the Moon: A Novel

by Dean Koontz

Overview

Dean Koontz has surpassed his longtime reputation as “America’s most popular suspense novelist”(Rolling Stone) to become one of the most celebrated and successful writers of our time. Reviewers hail his boundless originality, his art, his unparalleled ability to create highly textured, riveting drama, at once viscerally familiar and utterly unique.

Author of one #1 New York Times bestseller after another, Koontz is at the pinnacle of his powers, spinning mysteries and miracles, enthralling tales that speak directly to today’s readers, balm for the heart and fire for the mind. In this stunning new novel, he delivers a tour de force of dark suspense and brilliant revelation that has all the Koontz trademarks: adventure, chills, riddles, humor, heartbreak, an unforgettable cast of characters, and a climax that will leave you clamoring for more.

Dylan O’Connor is a gifted young artist just trying to do the right thing in life. He’s on his way to an arts festival in Santa Fe when he stops to get a room for himself and his twenty-year-old autistic brother, Shep. But in a nightmarish instant, Dylan is attacked by a mysterious “doctor,” injected with a strange substance, and told that he is now a carrier of something that will either kill him...or transform his life in the most remarkable way. Then he is told that he must flee—before the doctor’s enemies hunt him down for the secret circulating through his body. No one can help him, the doctor says, not even the police.

Stunned, disbelieving, Dylan is turned loose to run for his life...and straight into an adventure that will turn the next twenty-four hours into an odyssey of terror, mystery—and wondrous discovery. It is a journey that begins when Dylan and Shep’s path intersects with that of Jillian Jackson. Before that evening Jilly was a beautiful comedian whose biggest worry was whether she would ever find a decent man. Now she too is a carrier. And even as Dylan tries to convince her that they’ll be safer sticking together, cold-eyed men in a threatening pack of black Suburbans approach, only seconds before Jilly’s classic Coupe DeVille explodes into thin air.

Now the three are on the run together, but with no idea whom they’re running from—or why. Meanwhile Shep has begun exhibiting increasingly disturbing behavior. And whatever it is that’s coursing through their bodies seems to have plunged them into one waking nightmare after another. Seized by sinister premonitions, they find themselves inexplicably drawn to crime scenes—just minutes before the crimes take place.

What this unfathomable power is, how they can use it to stop the evil erupting all around them, and why they have been chosen are only parts of a puzzle that reaches back into the tragic past and the dark secrets they all share: secrets of madness, pain, and untimely death. Perhaps the answer lies in the eerie, enigmatic messages that Shep, with precious time running out, begins to repeat, about an entity who does his work “by the light of the moon.”

By the Light of the Moon is a novel of heart-stopping suspense and transcendent beauty, of how evil can destroy us and love can redeem us—a masterwork of the imagination in which the surprises come page after page and the spell of sublime storytelling triumphs throughout.

BONUS: This edition contains an excerpt from Dean Koontz's The City.

Product Details

ISBN-13:	9780553593273
Publisher:	Random House Publishing Group
Publication date:	05/29/2012
Edition description:	Reprint
Pages:	480
Sales rank:	99,929
Product dimensions:	4.10(w) x 7.40(h) x 1.50(d)

About the Author

Dean Koontz, the author of many #1 New York Times bestsellers, lives in Southern California with his wife, Gerda, their golden retriever, Elsa, and the enduring spirit of their goldens, Trixie and Anna.

Hometown:

Newport Beach, California

Date of Birth:

July 9, 1945

Place of Birth:

Everett, Pennsylvania

Education:

B.S. (major in English), Shippensburg University, 1966

Website:

http://www.deankoontz.com

Read an Excerpt

Chapter One

Shortly before being knocked unconscious and bound to a chair, before being injected with an unknown substance against his will, and before discovering that the world was deeply mysterious in ways he'd never before imagined, Dylan O'Conner left his motel room and walked across the highway to a brightly lighted fast-food franchise to buy cheeseburgers, French fries, pocket pies with apple filling, and a vanilla milkshake.

The expired day lay buried in the earth, in the asphalt. Unseen but felt, its ghost haunted the Arizona night: a hot spirit rising lazily from every inch of ground that Dylan crossed.

Here at the end of town that served travelers from the nearby interstate, formidable batteries of colorful electric signs warred for customers. In spite of this bright battle, however, an impressive sea of stars gleamed from horizon to horizon, for the air was clear and dry. A westbound moon, as round as a ship's wheel, plied the starry ocean.

The vastness above appeared clean and full of promise, but the world at ground level looked dusty, weary. Rather than being combed by a single wind, the night was plaited with many breezes, each with an individual quality of whispery speech and a unique scent. Redolent of desert grit, of cactus pollen, of diesel fumes, of hot blacktop, the air curdled as Dylan drew near to the restaurant, thickened with the aroma of long-used deep-fryer oil, with hamburger grease smoking on a griddle, with fried-onion vapors nearly as thick as blackdamp.

If he hadn't been in a town unfamiliar to him, if he hadn't been tired after a day on the road, and if his younger brother, Shepherd, hadn't been in a puzzling mood, Dylan would have sought a restaurant with healthier fare. Shep wasn't currently able to cope in public, however, and when in this condition, he refused to eat anything but comfort food with a high fat content.

The restaurant was brighter inside than out. Most surfaces were white, and in spite of the well-greased air, the establishment looked antiseptic.

Contemporary culture fit Dylan O'Conner only about as well as a three-fingered glove, and here was one more place where the tailoring pinched: He believed that a burger joint ought to look like a joint, not like a surgery, not like a nursery with pictures of clowns and funny animals on the walls, not like a bamboo pavilion on a tropical island, not like a glossy plastic replica of a 1950s diner that never actually existed. If you were going to eat charred cow smothered in cheese, with a side order of potato strips made as crisp as ancient papyrus by immersion in boiling oil, and if you were going to wash it all down with either satisfying quantities of icy beer or a milkshake containing the caloric equivalent of an entire roasted pig, then this fabulous consumption ought to occur in an ambience that virtually screamed guilty pleasure, if not sin. The lighting should be low and warm. Surfaces should be dark—preferably old mahogany, tarnished brass, wine-colored upholstery. Music should be provided to soothe the carnivore: not the music that made your gorge rise in an elevator because it was played by musicians steeped in Prozac, but tunes that were as sensuous as the food—perhaps early rock and roll or big-band swing, or good country music about temptation and remorse and beloved dogs.

Nevertheless, he crossed the ceramic-tile floor to a stainless-steel counter, where he placed his takeout order with a plump woman whose white hair, well-scrubbed look, and candy-striped uniform made her a dead ringer for Mrs. Santa Claus. He half expected to see an elf peek out of her shirt pocket.

In distant days, counters in fast-food outlets had been manned largely by teenagers. In recent years, however, a significant number of teens considered such work to be beneath them, which opened the door to retirees looking to supplement their social-security checks.

Mrs. Santa Claus called Dylan "dear," delivered his order in two white paper bags, and reached across the counter to pin a promotional button to his shirt. The button featured the slogan fries not flies and the grinning green face of a cartoon toad whose conversion from the traditional diet of his warty species to such taste treats as half-pound bacon cheeseburgers was chronicled in the company's current advertising campaign.

Here was that three-fingered glove again: Dylan didn't understand why he should be expected to weigh the endorsement of a cartoon toad or a sports star—or a Nobel laureate, for that matter—when deciding what to eat for dinner. Furthermore, he didn't understand why an advertisement assuring him that the restaurant's French fries were tastier than house flies should charm him. Their fries better have a superior flavor to a bagful of insects.

He withheld his antitoad opinion also because lately he had begun to realize that he was allowing himself to be annoyed by too many inconsequential things. If he didn't mellow out, he would sour into a world-class curmudgeon by the age of thirty-five. He smiled at Mrs. Claus and thanked her, lest otherwise he ensure an anthracite Christmas.

Outside, under the fat moon, crossing the three-lane highway to the motel, carrying paper bags full of fragrant cholesterol in a variety of formats, Dylan reminded himself of some of the many things for which he should be thankful. Good health. Nice teeth. Great hair. Youth. He was twenty-nine. He possessed a measure of artistic talent and had work that he found both meaningful and enjoyable. Although he was in no danger of getting rich, he sold his paintings often enough to cover expenses and to bank a little money every month. He had no disfiguring facial scars, no persistent fungus problem, no troublesome evil twin, no spells of amnesia from which he awoke with bloody hands, no inflamed hangnails.

And he had Shepherd. Simultaneously a blessing and a curse, Shep in his best moments made Dylan glad to be alive and happy to be his brother.

Under a red neon motel sign where Dylan's traveling shadow painted a purer black upon the neon-rouged blacktop, and then when he passed squat sago palms and spiky cactuses and other hardy desert landscaping, and also while he followed the concrete walkways that served the motel, and certainly when he passed the humming and softly clinking soda-vending machines, lost in thought, brooding about the soft chains of family commitment—he was stalked. So stealthy was the approach that the stalker must have matched him step for step, breath for breath. At the door to his room, clutching bags of food, fumbling with his key, he heard too late a betraying scrape of shoe leather. Dylan turned his head, rolled his eyes, glimpsed a looming moon-pale face, and sensed as much as saw the dark blur of something arcing down toward his skull.

Strangely, he didn't feel the blow and wasn't aware of falling. He heard the paper bags crackle, smelled onions, smelled warm cheese, smelled pickle chips, realized that he was facedown on the concrete, and hoped that he hadn't spilled Shep's milkshake. Then he dreamed a little dream of dancing French fries.

Editorial Reviews

Koontz is not just master of our darkest dreams, but also a literary juggler.”—The Times (London)
 
“The poet laureate of paranoid pop fiction . . . Readers . . . will find themselves rushing pell-mell to the book’s end.”—The Denver Post
 
“Perhaps more than any other author, Koontz writes fiction perfectly suited to the mood of America post–September 11: novels that acknowledge the reality and tenacity of evil but also the power of good; that celebrate the common man and woman; that at their best entertain vastly as they uplift. By the Light of the Moon is one of those best, exciting and deeply moving.”—Publishers Weekly (starred review)

From the Publisher

Perhaps more than any other author, Koontz writes fiction perfectly suited to the mood of America post-September 11: novels that acknowledge the reality and tenacity of evil but also the power of good; that celebrate the common man and woman; that at their best entertain vastly as they uplift. His latest is one of those best, exciting and deeply moving, shorter than usual and also less prone to the overwriting, the flood of similes and metaphors, that sometimes overwhelms his storytelling. As usual for Koontz, the novel opens at full throttle: a mad doctor invades a motel in Arizona, injects both itinerant artist Dylan O'Connor and struggling comic Jillian Jackson (strangers to one another) with an unknown substance that, he says, is his life's work and will have some unknown effect, then warns them to flee before his enemies kill them; soon after, the doctor is slain by heavily armed assailants. The rest of the story is an extended chase, as Dylan and Jillian, along with Dylan's high-functioning autistic brother, Shep, dart around the West, only steps ahead of the assassins. Within hours, the effects of the injections materialize: Jillian experiences portentous visions-a flock of birds, a woman in a church; Dylan is overcome by the need to rush to the aid of people in distress (among others, in an intensely poignant scene, an elderly man searching for his missing daughter); and Shep learns to teleport himself and others. (Interestingly, Koontz bases the science behind these developments on nanotechnology, the same mechanism used by Michael Crichton in his just published Prey, an object lesson in how two writers can take the same premise and generate two very different yet excellent novels). The novel's only flaw is its abrupt ending, contrived probably to allow sequels-a probability that Koontz fans, but also anyone else who reads this novel, a predestined bestseller and rightfully so, will applaud. (Dec. 24)

Publishers Weekly

Koontz (Watchers) introduces readers to a twentysomething trio consisting of artist Dylan O'Conner; his autistic younger brother, Shep; and a stand-up comedienne named Jilly Jackson. One momentous evening, these three unexpectedly find themselves coping with the bizarre effects of mysterious injections forced upon them by mad scientist Lincoln Proctor in an Arizona motel. With a generous helping of dark humor, Koontz quickly charges his characters with the task of harnessing their paranormal abilities as weapons against real-world violence and evil in a setting littered with present-day totems ranging from fast-food restaurants to sensation-mongering radio personalities. Religious images commingle with comic book-style action to present a tongue-in-cheek antidote to the brutality of today's society. As intriguing as this sounds, it's unclear what the author is trying to achieve. While die-hard fans might enjoy this experiment, it is not one of Koontz's best and certainly not a means to introduce new readers. [Previewed in Prepub Alert, LJ 9/1/02.]-Nancy McNicol, Whitneyville Branch Lib., Hamden, CT Copyright 2003 Cahners Business Information.

Library Journal