Amara was once the beautiful Princess of Egypt. Now, 4000 years later, she and her coffin are merely prized exhibits of the Charles Ward Museum. If you were to look at her today, you would see only a brittle bundle of bones and dried skin. But looks can be very deceiving, as Barney, the museum's night watchman, finds out. . . . Barney is the first to make the shocking discovery that the mummy's coffin has been broken open. But he doesn't have a chance to do anything about it. Amara is once again freed from the cramped confines of her coffin, free to walk the earth. Free to kill. Nothing can satisfy her bloodlust. And no one can stop her. You cannot kill what is already dead.
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Book Description
Editorial Reviews
From Kirkus Reviews
The master of stomach-churning porno-violence (Quake, 1995, etc.) returns, unredeemed and of no social value whatsoever. Laymon fans must always be telling themselves, I'm sick. Im very sick. I must be absolutely worthless to be enjoying this, but, as the authors numerous villainous psychopaths would undoubtedly say, Kill em all! Let God sort em out! This time, the Santa Ana winds are blowing fire toward L.A., and tubby, teenaged Toby Bones, who with his brother murdered his wealthy parents, is on the loose. Teacher Sherry Gates and her boyfriend Duane are just about to make love when his condom falls to pieces. He'll be right back, Duane says, heading for the nearby convenience store for some fresh booties. He never comes back. After a while, Sherry goes looking for him and eventually is kidnaped by Toby, a student from a recent class. He beats and tries to rape her, then decides they need a bed. Sherry escapes, gets a stranger named Jim to help her get back to Duane's place. They find Duane in bed, his skull crushed, then Toby offs Jim with two butcher knives into his back, jumps a woman in Duane's hallway and knifes her in the back, then re-abducts Sherry for some real fun. And that's just for tasty openers as Laymon's novel slides in slime toward a big sweet hell of pain and orgasm. -- Copyright ©1999, Kirkus Associates, LP. All rights reserved.
--This text refers to an out of print or unavailable edition of this title.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
One of Laymon's best,
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This review is from: Come Out Tonight (Audio CD)
Sherry and Duane are about to consummate their love (or whatever it is they have together) when some poor planning sends Duane out on a jaunt to the all-night Speed-D-Mart two blocks away for the appropriate supplies. After waiting for over an hour, and hearing what sounds very much like a gunshot, Sherry gets concerned and goes out to look for Duane.
This simple summary is the set-up for a night of terror that will soon involve Sherry's family, her sister's friends, and a trio of strangers with somewhat questionable motives, all doing their best to avoid and defeat a crazed teenager with the unforgettable name of Toby Bones. Come Out Tonight is a perfect example of Laymon's inimitable skill, and an excellent introduction to his particular style of writing. Before I read Come Out Tonight, my favorite Richard Laymon novel was In the Dark, but two reads later, this one has displaced it. Sherry's and Toby's stories stay lodged in my memory unlike any other novel Laymon has written. Laymon piles on all of the usual deviant behaviors found in the horror genre but levies them with his signature dark humor and a pure skill with words, resulting in a novel that was one of my quickest ever reads the first time around (less than 24 hours for a 400+ page book). The unabridged audiobook, read with range and insight by the prolific Gene Engene, took longer, of course, but it allowed me to get deeper into the characters by not allowing me to read any faster than Engene could speak. What makes Come Out Tonight so memorable is Laymon's ability to truly get inside his characters. The chapters where two teenage boys nurse back to health a naked, nearly dead young woman found outside their house are some of the most realistically played scenes (from the standpoint of character motivation and action) of any novel I've read. Laymon focuses on the conflicting emotions and thoughts that would occur in that situation, while never letting us know exactly what will happen next. In Come Out Tonight, as well as his other novels, he chronicles every detail of each event while never allowing a full description to slow down the action. And that is his appeal. The man is truly an artist; sex and violence are simply his medium of choice.
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