this is what distinguishes Jones’s writing - he eschews the facile answers, clichéd figures, and binary alignments that serve so often as fixed sites of victimry and tragedy. transcends borders and temporal dimensions or, more appropriately, creates its own. The anticipation and dread Jones’s stories provoke are amplified in his unique take on the slasher by associations with holidays such as Thanksgiving and Columbus Day, presented with their colonial entanglements so that the arrival of Columbus in 1492 is not seen as an occasion for historical celebration but 'a storm so bad it eats the world.' Yet, whatever form the monstrous takes in Jones’s work, he is a master at creating a storied presence that settles deep into our psyches. Jones is one of the best writers working today regardless of genre, and this gritty, heartbreaking novel might just be his best yet. Besides the creeping horror and gory poetry, The Only Good Indians does a lot in terms of illuminating Native American life from the inside, offering insights into how old traditions and modern living collide in contemporary life. Jones has a talent for creating unsettling atmospheres and images, but he also enjoys explicit violence. It goes from disturbing flashes of thing that may or may not be there to in-your-face explosions of gore and violence tinged with supernatural elements. the horror is unlike anything you've read before. And that identity, Native American, isn't monolithic here. The Only Good Indians is a disturbing horror novel about revenge and sorrow that houses a narrative about identity and the price of breaking away from tradition at its core. In The Only Good Indians, Jones does that and more, and the more is quite special. Everything about the worlds, circumstances, characters, and atmospheres he creates appeals to me. I'm always giddy when I start a new Stephen Graham Jones novel.

Only the good indians