
After four planes crash simultaneously in geographically disparate locations, three child survivors emerge unscathed from the wreckage (the presence of a fourth child is possible but neither confirmed nor denied). Instant media darlings the Three, as they come to be known, are viewed as miracles by some and as harbingers of greater doom yet to come by others. The Three is presented as fact; the novel cleverly written as if it were a manuscript of a nonfiction book investigating the crash, its aftermath, and the survivors and their families. As I’ve said in the past this is a format that horror fiction leans on heavily stemming as far back as Horace Walpole’s The Castle of Otranto in 1764 to the modern film equivalent of found-footage.