CATEGORY

Trisha's odyssey succeeds on several levels. King renders her consciousness of increasing peril beautifully, from the "first minnowy flutter of disquiet" in her guts to her into-the-wild tumbles to her descent into hallucinations, the nicest being her beloved Red Sox baseball pitcher Tom Gordon, whose exploits she listens to on her Walkman. The nature writing is accurate, tense, and sometimes lyrical, from the maddening whine of the no-see-um mosquito to the profound obbligato of the "Subaudible" (Trisha's dad's term for nature's intimations of God). Our identification with Trisha deepens as we learn about her loved ones: Dad, a dreamboat whose beer habit could sink him; loving but stubborn Mom; Trisha's best pal, Pepsi Robichaud, vividly evoked by her colorful sayings ("Don't go all GIRLY on me, McFarland!"). The personal associations triggered by a full moon, the running monologue with which she stays sane--we who have been lost in woods will recognize these things.

In King's revealing Amazon.com interview, he said the one book he wishes he'd written was Lord of the Flies. When Trisha confronts a vision of buzzing horror in the middle of the woods, King creates his strongest echo yet of the central passage of Golding's novel. --Tim Appelo