Ghost story

A horror story in three words: London property market. That’s the starting point for Roisin Lanigan’s brilliantly creepy debut novel, set in the sheer hell of being a young renter. Because once you’ve run the gamut of carbon monoxide-leaking boilers, coked-up estate agents, absentee landlords and frosty housemates (and been gouged in rental costs for the privilege), maybe a haunting isn’t a deal-breaker. The main character, Aine, is adrift in her twenties with a vaguely online job and a prescription for unspecified mental health issues. She’s also pathologically passive: she ends up in London because Laura, her best friend from university, asks to flatshare and Aine can’t think of anything

It could be said that the power of a horror story depends on the possibility, however minute, of it being true. This is partly why so many masters of the genre, from Bram Stoker to Robert Louis Stevenson, have given their narratives the semblance of believability by including epistolary passages, ‘found’ documents and the commentaries of ‘editors’ in their books. In The Runes Have Been Cast, Robert Irwin takes the opposite approach, writing in a prologue: Should any of my readers incline to a serious study of the subject of this book, it is only right to urge them most strongly to refrain from being drawn into the practice of