The opening paragraph: A cool night in late September, a Wednesday, and clear - the moon pocked with grey shadows, and a scattering of stars too bright to be masked by the lights scattered below; the chilled breath of a faint wind that gusted now and then, carrying echoes of nightsounds born in the trees, pushing dead leaves in the gutters, rolling acorns in the eaves, snapping hands and faces with a grim promise of winter.
The second paragraph: A cool night in late September, a Wednesday, and dark.
An astute reader might pick up on the fact that the first two paragraphs in this novel have subjects but no predicates. Also, that despite the disparity in size, both of the paragraphs are single sentences.
This is not the way you are supposed to construct a novel. If you're a writer who truly understands his craft, though, you may know when to break convention; you may understand that the true purpose of writing is communication, and while communication is most often effective when following widely understood conventions, sometimes, just sometimes, the opposite is true.
Mr. Grant's love of poetry, especially that of e.e. cummings, has been documented elsewhere. That same love of poetry shines in his writing, and allows him to evoke mood as well as any other horror writer, and far better than all but the best of them. The main drawback to his writing style is that it does not work well with the clinical violence inherent in many other novels.
If you're looking for bodies stacked like cordwood behind a haunted house, look elsewhere. There are some authors who can make beautiful and frightening poetry out of violence: Joe Lansdale, David Schow, Nancy Collins, Jack Ketchum. Grant's specialty is making poetry out of dreams, or nightmares. There is some violence, but it's not lingered upon, merely offered in frames to add to the tension.
Ironically, this is also one of the rare horror novels which takes care to follow the most basic structure of the classic novel: that the book should be a chronicle of development, that a key change must be made in a primary character or location as a result of the activities in the book. Read the book, consider Donald Boyd and the events which unfold around him, and when you get to the end, you'll be left with a few uncomfortable questions... which is the goal of all truly 'literate' horror.
I cannot recommend this book highly enough, and I'm proud to be (originally) from the same state as the author.