What it’s about: A professor meets a strange man who claims to be half werewolf, and learns the terrible story of his family.
Praise: Full disclosure – I’m a sucker for werewolves. They are by far my favorite of the classic monsters. Unfortunately, I don’t think the average movie or book uses them well. Werewolves don’t just scare. They explore nature, civilization, shifting identities and humanity itself. Unfortunately, ninety percent of werewolf stories feel more like the author wrote a vampire story, decided it wasn’t original enough, then hastily changed it. Still, when an author tries to do something properly werewolfy, the result is some of the best stories horror has to offer.
This book firmly belongs in that latter category. It makes you equal parts terrified, fascinated and in love with its subject. It is philosophical, but not the measured philosophy of lecture halls. It’s the trembling, awestruck philosophy of the mad hermit in the woods. It is gory, but not the sickening splatter of modern slasher. It’s the strangely elegant gore of Gothic horror.
On a less pretentious note, I loved the plot and the characters. The viewpoint characters all had beautifully distinct voices. It drives me mad when a story shifts between multiple first person POVs and I lose track of who is talking. I never had that problem with this book.
Also, on one more personal note, there are multiple non-stereotypical queer characters. I can’t say any more without spoilers, but I was happy and I think other LGBTQ readers will be too.
Criticism: For the first few chapters, when I wasn’t sure where this was going, it was a little slow. It was well worth pushing through, though. Once things came together, I didn’t want to put it down.
Also, content warning, this books contains violence, anthropophagy (I feel wrong calling it cannibalism given how the shapeshifters insist they aren’t human) and a rape scene. Even the latter, though, avoids the common pitfalls. In a book full of sexual imagery, it’s one of the few scenes devoid of eroticism. There’s no “well, it wasn’t really proper rape because….” Instead, the book insists that, despite how the attacker frames it, it was rape, because he did not give the victim the opportunity to consent. The victim is actually characterized as an interesting and sympathetic human being, not just a tool of the story. The scene is necessary to the plot, not just there to add drama or titillation. All other writers, take note.
Recommended? If intense, brutal and beautiful is up your alley, then yes, very much recommended.