Man is monster, fitting in at home perhaps fatal.

A young bloke has the odd weird dream and experience, and decides to go on a trip. He discovers that all is not what it seems, especially him. It seems he is one of the prettier variety of an underground group of non-humans monsters, oddities and supernatural types called the Nightbreed, and acceptance is not automatic. Horror novel, so got to be some mayhem here and there.

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Monsters have always played a large part in our collective subconscious. They lurk in shadows, under beds, at the ends of dark alleys. Monsters are always with us, in one form or another. Clive Barker realizes this. And Barker also realizes that sometimes, the monster we don't know is far more preferable than the ones we do.
CABAL is Barker's ode to the monster, not as a fearsome predator that only lives to destroy, but as a misunderstood creature that is alternatively loathed and envied. We despise the monster, because we wish to be one ourselves.

Boone is a young man who is teetering on the brink of insanity. While he has been getting treatment under the watchful guise of Dr. Decker, he is still far from unsure that he is well. And when Decker declaims Boone as a subconscious serial killer, with eleven confirmed victims under his belt, Boone decides that his only option is to find Midian, the place where the monsters play. What Boone discovers is an underworld of loneliness and despair, as the monsters of the world attempt to live their lives in peace, uninterrupted by the insanity of humankind.

Barker has always had a, shall we say, fondness for the darker impulses of man. In his BOOKS OF BLOOD series, and his novels THE HELLBOUND HEART and THE DAMNATION GAME, he presents the readers with individuals who truly live their lives on the edge, daring life, limb, and soul to satisfy their primal yearnings. In Boone, Barker has created another unsatisfied loner who craves acceptance, believing he cannot function in normal society. Barker understands the human heart, and isn't afraid to admit that not all desires are the same. But just because one person's desires may differ from another's, does not necessarily make that person wrong. It's all a matter of persepctive.

Barker plays this need of Boone for a family off his other two main characters, Lori and Decker. Lori, like Boone, also cries out for her desires to be sated. She desires Boone. And in a very touching love story, Lori proceeds to travel the paths of Hell in order to be with him.

Dr. Decker's needs are also front and centre, but his needs are admittedly not of the same vein as Boone and Lori's. Without giving too much away, Decker's needs are far more primal than Boone's, and more insidious in their rationality. Boone wants a family. Decker wants no more families, ever. Decker, rather than the monster-lover Boone, is the real evil, the calm that masks the storm.

But monsters are monsters, first and foremost. Barker is one of the more unusually vivid purveyors of the human condition, and his tale leaps from one grotesque to the next. CABAL contains some truly stomach-turning scenes, which is to Barker's credit. While he sympathizes with the monster, he knows that the monster must be true to itself in order to be complete. Like humankind, a monster must accept what it is in order to survive. And what a monster is, is a monster. And Barker does not shy away from the blood, gore, and vivisections that invariably follow such a creature.

Part of what has always made Barker such an interesting writer is his mixing of the profane with the sacred, his ability to juxtapose the horrible with the holy. In his stories, men find redemption as monsters. The evil are rarely punished, and the innocent cannot be allowed to survive. And somtimes, love can cross the boundary between life and death. CABAL is possibly the closest Barker could ever get to writing a flat-out romance novel. Boone and Lori go through the pits of Hell to be with each other. They travel the battlefield of the final confrontation between man and his demons. In the end, it doesn't matter who the monsters are; we are all monsters. How we come to accept it is what makes us human. ( )