In All the Fiends of Hell, Nevill launches his horror show on page one, spending little time on the events that preceded the apocalypse in either reference or return. The new world is ominous and still, and those that dwell in it are ill-equipped to parse the mysterious dangers that confront them. Nevill's hallmarks are here: the steady, introspective, reflective nature of his protagonist; the immutable and almost incomprehensible creatures that defy ready visualization; the escalating helplessness of those pitted against them…

“Across the road, those who watch the vicarage’s transformation see windows beaming golden. Not only has the grin at ground level broadened, but the eyes are open and alight upstairs. A watcher may remark that after sleeping for so long, the building appears to have been roused from within.”

this iteration of [Nevill’s] formula feels like a polished, smartly-conceived story that plays out across a number of increasingly interesting layers.