It’s almost impossible to imagine a contemporary possession story, whether in a book or film, not being somehow influenced by William Peter Blatty’s The Exorcist. Blatty’s novel is one of those books that defines a subgenre and many of the images that readers and film-goers have of possession tales (the troubled priests, the candle-lit Catholic iconography, the other-worldly voices) seemingly originate with Blatty’s 1971 book. But there’s a possession novel, much less well known, that appeared roughly a decade earlier, and which includes many of the possession narrative attributes that would become a staple in books and films involving exorcism.

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