I grew up in a town where the Pied Piper was (is) a big deal. In fact, because of it, I was a rat in a parade.

My home town is Frankenmuth, Michigan, known as Michigan’s Little Bavaria. One of the town landmarks in the Glockenspiel at Bavarian Inn. The Glockenspiel is a 50-foot bell tower that plays music and tells the story, with the help of carved figures that emerge onto a platform, of the Pied Piper.

One year the kids in my neighborhood entered the annual Children’s Parade, part of the then-weeklong Bavarian Festival, with a Pied Piper rat group, and a Pied Piper child group, with two of the older boys playing the Pied Piper. So… I was a rat.

When I say I have always been fascinated by the darkness of the Pied Piper of Hameln story, I mean it.

In Children of Chicago, Cynthia Pelayo took a dark tale and made it even darker, dark as pitch. In Pelayo’s hands, we have a Pied Piper that is truly the stuff of children’s legends, and the instrument of the kind of pure anger of which children can be capable. This is a story about children killing children. And somehow, it is told with compassion. Unflinchingly, but also with empathy. It’s a stunning accomplishment.

If you are familiar with the Pied Piper story, don’t think that will help you. This is a horror story with thriller overtones, and the mysterious twists and bends that come with a good detective mystery. You might think you have it figured out, and you might, partly. You won’t see the whole thing coming at you, I assure you.

Chicago is as much a character in this story as the children and the detective trying to save them. Calling it a love song to Chicago is trite. But still true. I’ve been to Chicago a dozen times, but I’ve never seen it presented in quite this loving, honest, respectful way. The next time I’m there, I’ll try to visit Humboldt Park. I won’t be chanting rhymes in front of candlelit mirrors, though. No way.

The drink is a mimosa. It was early-ish and I’d had … some beers… the previous night. The place is the Crazy Horse bar and grill in Bloomington, Indiana.

Caution: spoilers.

I hated reading The Girl Next Door by Jack Ketchum. I did not enjoy it at all. If Ketchum were not the craftsman he is, I’m not sure I could have finished it. As it is, he is an astonishing writer and he knew exactly what he was doing with this book. And it’s an important book, and, I think, one that should be read, and talked about. The back description sums up why: “Based on a true story, this shocking novel reveals the depravity of which we are all capable.”

Based on a true story. The novel is a fictional take on the true story of the horrible abuse and murder of Indiana teenager Sylvia Likens. Sylvia was abused, imprisoned, and eventually killed by Gertrude Baniszewski, whom Sylvia’s father trusted with her care. Baniszewski involved a handful of neighborhood children and her own children—Sylvia’s peers—encouraging their participation in inflicting serious injuries on Sylvia. Several adults in the neighborhood saw hints of maltreatment but none of them called authorities. The abuse escalated to shocking degrees, and eventually, Sylvia’s murder.

Knowing this book is based on a true story makes it that much more difficult to read. Because unlike two similar difficult-to-read-but-masterful books—American Psycho by Bret Easton Ellis and Not Forever, But For Now by Chuck Palahniuk—this is not a satire. It’s an exposé.

Ketchum’s book takes a hard look at the questions: How could this happen? Why did it happen? By his own admission, he flinched. In the book, main character David is redeemable, and Meg (the fictional version of Sylvia) has some small comfort at the end—she is not alone.

The depravity of which we are all capable. Several of the villains in this book are kids. The youngest is 10, the others in their early teens. However, their youth does not render them inculpable.

Ketchum makes David, neighbor boy and family friend, our protagonist. In doing so, he takes away our easy out—letting the kids off the hook and blaming only Ruth. David knows his limited participation is wrong, and he understands that his passivity is tantamount to betrayal. He approaches his parents when the abuse begins to escalate, but does such a poor job of explaining what is happening—and his parents such a lousy job of listening to him—that it amounts to having done nothing.

We are not to walk away from this book thinking, aw, he’s just a kid. We are to see ourselves as David. We are challenged to confront our own hesitation to take a stand when it’s difficult to do so, when we feel (or are) powerless, and when we might lose standing in our peer group—including in our careers or at university, for example.

Ketchum’s Ruth, the fictional Baniszewski, has had a rough and unfair life, and she has lost her ability to empathize. She convinces herself, at least in the beginning, that she’s helping Meg avoid some of the perils to which she herself fell prey. She is as hateful as any character I’ve ever encountered in literature.

While we might be very unlike Ruth, still: How many times have we justified being unkind, callous, or thoughtless because we perceive someone else’s suffering as less than our own?

Have we gloried in someone’s misfortune because we think they deserve it?

Have we labeled a group of people—those who vote differently than we do, for example, or those who choose different lifestyles—and by labeling them, rendered them less than human, a group we can denigrate and even persecute?

An important point to bring away from this book: Don’t assume you can never be the monster.

“We had permission.” A key factor both in the fictional and the true stories: The neighborhood children participated in torturing a girl because they were told they could. They had permission. An authority figure told them it was their right. They felt justified. They felt righteous. They might as well have confidently stated that they were “on the right side of history.”

So here’s another point: We can’t be like children and assume that authority is always right. “I was just following orders” didn’t keep war criminals from punishment. “They told me it was the right thing to do” doesn’t absolve us from asking questions. We have an obligation to defy authority when authority acts to persecute, vilify, and dehumanize. And no, it’s not just those people over there who need this lesson. It’s us, too. Whoever your “us” includes.

I needed some comfort while I was reading, some support. I posted about this reading experience in the Facebook group Books of Horror—an excellent community of well-read fans of the horror genre. The responses were thoughtful and considered. Other readers talked about feeling complicit in the atrocity just by continuing to read about it. They talked about honoring the memory of Sylvia Likens by reading the fictional account of what happened to her—giving her a voice and seeing her. A few people didn’t finish the book. A few people did and were still shaken. Very few were untouched by it.

This isn’t a book I’m going to be giving away at Christmas. It’s a difficult read. In writing this book, Jack Ketchum reminds us: We must confront the potential monsters we carry inside ourselves.

I posted on Facebook recently how I don’t write reviews because I write them so badly. It’s true. When I write a review, inevitably I sound dumb as a box of rocks, or pedantic, or deranged. Not a good look. And, as a writer trying to advance in my craft, not the kind of writing I want to acknowledge!

So I’ve been reading more reviews and also blurbs, and I’ve come to realize that one skill I must improve is careful reading.

I think I’m already a pretty good reader. I’ve been doing it since before kindergarten and I have a lot of practice. But it’s easy to read too quickly, to gulp rather than sip. I find that when I read something once – a novel, let’s say – I’m caught up in the plot, falling in love or distrust with the characters, and sure, I’m also admiring individual sentences and scenes, noting that bit of foreshadowing or how that detail builds the character’s profile. But it’s on the second reading where I focus on craft.

That’s one great thing about flash – it’s easy to re-read three times in a row. Four times, even. And good flash stories beg to be re-read. They are like saffron – each ounce is worth a pound of something else, not the least because of the labor involved.

I write a lot. My day job is writing. I try to keep up a reasonable flow of flash writing and blog writing, and I swear I really am going to write that dang novel. But I need to write even more. I need to learn to write reviews. And maybe some day, blurbs.

I like to let writers (or musicians or other artists) know when I’m moved by or admire something they’ve produced. And, reviews are an important part of marketing for a writer. I’m annoyed I’ve let myself go so long with such shoddy review-writing skills.

I vow to do better.