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Rules for Werewolves
In the tradition of Colson Whitehead’s Zone One, a visionary debut novel about shelter, escape, family, violence, and dumpster-diving.
It’s the story of a restless group of young squatters. They’ve run away from their families and their pasts, questing after knowledge of their most wild selves, roaming the half-empty suburbs of America, occupying the homes of the foreclosed or vacationing, never staying in one place long enough to attract attention, while shoplifting beer at the local Speedy Stop. They’re building a new society with new laws, and no one will stand in their way.
But utopias are hard work, and as Rules for Werewolves unfolds, these young revolutionaries discover that it’s much easier to break laws than to enforce them. Narrated in the shifting perspectives of the pack, Rules for Werewolves follows a community of drifters on the move, who seek a life in a wilderness that, by definition, has no room for them, and a freedom for which they may not be entirely prepared.
Kirk Lynn’s debut novel is a hilarious and deeply moving story of people trying—and failing—to create a new life. At once a fractured fairy tale and a haunting vision of American disaffection, Rules for Werewolves marks the arrival of a fierce new talent.
It’s the story of a restless group of young squatters. They’ve run away from their families and their pasts, questing after knowledge of their most wild selves, roaming the half-empty suburbs of America, occupying the homes of the foreclosed or vacationing, never staying in one place long enough to attract attention, while shoplifting beer at the local Speedy Stop. They’re building a new society with new laws, and no one will stand in their way.
But utopias are hard work, and as Rules for Werewolves unfolds, these young revolutionaries discover that it’s much easier to break laws than to enforce them. Narrated in the shifting perspectives of the pack, Rules for Werewolves follows a community of drifters on the move, who seek a life in a wilderness that, by definition, has no room for them, and a freedom for which they may not be entirely prepared.
Kirk Lynn’s debut novel is a hilarious and deeply moving story of people trying—and failing—to create a new life. At once a fractured fairy tale and a haunting vision of American disaffection, Rules for Werewolves marks the arrival of a fierce new talent.
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First published October 13, 2015
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Displaying 1 - 30 of 48 reviews
September 1, 2018
-So what should we do?
-What do you mean?
-Like, knock?
-When you're out in the country you just open the fence and go in.
-I thought that was how you got shot out in the country.
-Look. You can see the house over there. Let's cut through the woods.
-You don't want to stay on the road?
-I'm not a car. I can do what I want.
kirk lynn's background is in theater, which explains his decision to write this novel almost entirely in dialogue, but also explains why he's just so dingdang good at it. because it can't be easy; sustaining the shifting perspectives of a veritable pack characters over the course of a nearly 350-page book in which there is also sooo much ambiguity and … weirdness with only scattered, fragmenty bits of conversation holding the narrative together.
but i'm telling you - it works.
i'm also telling you, for some reason it took me a full week to get through this book. not because i didn't enjoy reading it, and not even because i had so much other stuff going on, although i did, but because i wanted to let it sit with me a bit, for savoring. it's fast-paced, like any novel driven by dialogue, but it's deceptively so: there's a surprising amount of density to this that made me want to pause every so often to just absorb it all. it's rich with metaphor, with larger-than-context import, social commentary, perfect observations, all sprinkled into a relatively low-action book in which teenage squatters move from one temporarily unoccupied suburban home after another, forming a society, a family, and occasionally turning into werewolves. maybe.
-I can't be caught.
-You'll be surprised. There's some fast guys on the force.
-I mean, I can't be caught alive.
the parts that aren't in dialogue are still rooted in the theatrical; there are a few long monologues that are literally monologues - pieces of the pack's history and the personal stories of members of the pack meant to be read aloud, through closed doors, to soothe individuals when they are … unwell.
the characters are wise in the way that the homeless are wise - perspectives that are other, but not incorrect, and it's frequently funny, in that dark absurd beckett vein of humor.
- How are we going to recruit people?
-You were recruited. So was I.
-Recruited for what? What's the cause?
-It doesn't have words yet.
-We're just getting by.
-That's the center of it. The civil rights to not be looked down on just because of the way we live off the land.
-We don't live off the land.
-We do.
-We break into houses and we steal canned goods.
-Listen, if they cut down all the forests and poisoned all the streams and put up a bunch of ridiculous super-supermarkets - then I don't think it's right to arrest us for living off the land they gave us. People didn't shoplift in the Wild West.
-That's because you would get shot.
-It's because on the way from your house to the store you passed trees with fruits in them and fields with corn and woods with little rabbits and streams with trout.
-You make it sound like a supermarket, too.
-Food used to not come from stores. It used to be something that was around. So if they filled up the land with bullshit they can't say I'm bullshit for saying I live off the land when I help myself to what I find.
the dialogue is all rendered like that - without quotation marks or attribution, and there are times when it can get a little muddy remembering who is in conversation with whom, but the chapter titles are very handy:
Susan explains to Carl the plan for if the maid comes home. Anquille joins them about midway through.
Tanya tells Malcolm what she found when she went to feed Susan.
Bobert, Anquille, Susan, Angel, and Tom decide the hat is a god.
Malcolm is the first one back. Bobert, Tom, and Anquille are tied for second, then some others.
see?? perfectly clear!
and in some ways, it doesn't always matter who is talking, it's a word-blanket novel like The Lost Scrapbook, where the overarching tone is more important than the individuals, and here there's a sort of glazing over several characters (i.e. "then some others") that depicts them almost like interchangeable cogs, as dangerous as any group of driftless kids who fall into the company of a charismatic leader, especially one who claims to not be a leader, where the collective attitude is -It's easier to do what other people want than to want on your own..
there is a story to this; a progression of events, but for me the pleasure of the book was its atmosphere, one that kinda just creeps into your pores and propels you through on this mixture of laughter and terror, sometimes at the same time.
When I had my teeth in her I could feel her try to pull away. It made the bite worse. I realized it was an evolutionary thing. The better my teeth are at inflicting pain, the more damage my bite is going to do to living prey, because pulling away does as much damage as biting.
i expected this to be a suburban dystopic - some kind of a.m. homes-style dehumanization allegory, and it kind of is, but i took away so much more from it. for all its minimal and streamlined structure, it's insanely ambitious in scope, and i folded over so many pages that i wanted to come back to and ruminate on when it was all over. it's a really lovely surprise of a novel that i would pair with When We Were Animals, and i am just sitting here with an encouraging grin suggesting that maybe more people should give it a shot!
4.5 stars, if you're asking.
come to my blog!
September 8, 2015
-How did you like the book
-It was ok
-Just ok?
-Well maybe better than ok. I read the whole thing.
-I heard it was weird
-It was
-
-
-What was weird about it?
-It was completely dialogue. All of it was just talking
Blink.Blink.Blink.Blink. Blink
-Really? That is weird. Was it actually about werewolves?
-Kinda but not really.
-Would I like it?
-I guess you'll have to read it to find out.
This is what makes up the majority of the book. This is how conversations take place and how action goes down (action.action.action.action) which really makes it an interesting and unique book. It was weird, I was sometimes confused and I thought I would hate it when I picked it up but I really did enjoy this book and it opened my eyes to a group of people I knew very little except stereotypes about.
The book is about a group of runaway teenagers who live in abandoned houses. As someone who likes to read action packed books, I would say that not a whole lot goes on in the book but it kept my attention from beginning to end with enough interesting characters who I wanted to learn more about and plenty of different character plots all leading towards one big ending. If you have a chance to give the book a try and are open to different reading experiences, I would highly recommend reading this book:)
-It was ok
-Just ok?
-Well maybe better than ok. I read the whole thing.
-I heard it was weird
-It was
-
-
-What was weird about it?
-It was completely dialogue. All of it was just talking
Blink.Blink.Blink.Blink. Blink
-Really? That is weird. Was it actually about werewolves?
-Kinda but not really.
-Would I like it?
-I guess you'll have to read it to find out.
This is what makes up the majority of the book. This is how conversations take place and how action goes down (action.action.action.action) which really makes it an interesting and unique book. It was weird, I was sometimes confused and I thought I would hate it when I picked it up but I really did enjoy this book and it opened my eyes to a group of people I knew very little except stereotypes about.
The book is about a group of runaway teenagers who live in abandoned houses. As someone who likes to read action packed books, I would say that not a whole lot goes on in the book but it kept my attention from beginning to end with enough interesting characters who I wanted to learn more about and plenty of different character plots all leading towards one big ending. If you have a chance to give the book a try and are open to different reading experiences, I would highly recommend reading this book:)
May 31, 2015
I talked to a lot of people about this book while I was reading it. I usually described it by saying something like this, "It's very minimalist, is 99% dialogue, and often you don't even know who's talking. It's very weird, really messes with your head sometimes, and I feel like it should bug me but instead I really, really dig it."
I have only one other book I think I can compare it to, but it's actually a good comparison and I think the books would go well together: Your Fathers, Where Are They? And the Prophets, Do They Live Forever? by Dave Eggers. Their styles are similar, with the emphasis on dialogue. The characters also felt connected, with Eggers' central character and the leader Malcolm in Werewolves seeming to share some of the same imbalances.
Rules for Werewolves follows a group of outcasts who squat in empty suburban houses. There are shades of surrealism that come and go, leaving you not exactly sure what is really happening. (This is where the minimalism and lack of action enforce that sense of disorientation.) Malcolm, their leader, seems to be a little crazy and possibly a sociopath. Then there's Bobert, the teenage runaway they take in who gets to know the group and figure out how they work. There are power struggles and burglaries and run ins with the cops. There is scheming and violence and action. (Although action in this book is often described as "Fight. Fight. Fight. Fight. Fight." a stylistic quirk I really came to enjoy.)
Ultimately the book is about belonging and the rules of the pack and the tenuous hold of society. A really different read.
I have only one other book I think I can compare it to, but it's actually a good comparison and I think the books would go well together: Your Fathers, Where Are They? And the Prophets, Do They Live Forever? by Dave Eggers. Their styles are similar, with the emphasis on dialogue. The characters also felt connected, with Eggers' central character and the leader Malcolm in Werewolves seeming to share some of the same imbalances.
Rules for Werewolves follows a group of outcasts who squat in empty suburban houses. There are shades of surrealism that come and go, leaving you not exactly sure what is really happening. (This is where the minimalism and lack of action enforce that sense of disorientation.) Malcolm, their leader, seems to be a little crazy and possibly a sociopath. Then there's Bobert, the teenage runaway they take in who gets to know the group and figure out how they work. There are power struggles and burglaries and run ins with the cops. There is scheming and violence and action. (Although action in this book is often described as "Fight. Fight. Fight. Fight. Fight." a stylistic quirk I really came to enjoy.)
Ultimately the book is about belonging and the rules of the pack and the tenuous hold of society. A really different read.
December 11, 2016
This is book three from the dystopia keyword library search stack, but it really isn’t a dystopia at all. In fact, it could have taken place any time in the last eight years. The reader finds themselves in the suburbs of Los Angeles, amid a group of vagabonds. These are the werewolves of the title, and I found it revealing that such a term was used as there isn’t a non-pejorative 21st version of ‘vagabond’. (Drifter might fit?) The group is led by a guy called Malcolm from empty house to empty house, where the werewolves squat until turfed out by police. You can tell this is literary fiction because it’s all dialogue, yet there are no speech marks. The author is a playwright, QED. At first I found the style rather too mannered, but I soon got used to it. There are some pleasing bon mots scattered here and there, as well as genuinely creepy moments. The plot is minimal and my level of investment varied wildly character by character, however. Angel was the most interesting of the bunch, in my opinion.
When I finished the book, I was left with the nagging question of what political point, if any, the author was seeking to make. The werewolves are depicted as largely amoral, yet everyone else’s behaviour seemed equally arbitrary. The reader isn’t given any substantive insight into the lives of any werewolves other than Bobert and his brother, who are fleeing an abusive stepfather, making them difficult to understand. Some of the discussions between werewolves raise interesting issues about the social fabric and inequality, which always get derailed in a fashion that adds realism to the somewhat artificial scenario. There are themes of tension between emulating suburban living versus battling against it, as well as between group cohesion and atomisation. What I can’t discern, though, is where the author is being subtle and where he’s just shrugging. I enjoyed ‘Rules for Werewolves’ without finding any great insight into the breakdown of American society within it.
When I finished the book, I was left with the nagging question of what political point, if any, the author was seeking to make. The werewolves are depicted as largely amoral, yet everyone else’s behaviour seemed equally arbitrary. The reader isn’t given any substantive insight into the lives of any werewolves other than Bobert and his brother, who are fleeing an abusive stepfather, making them difficult to understand. Some of the discussions between werewolves raise interesting issues about the social fabric and inequality, which always get derailed in a fashion that adds realism to the somewhat artificial scenario. There are themes of tension between emulating suburban living versus battling against it, as well as between group cohesion and atomisation. What I can’t discern, though, is where the author is being subtle and where he’s just shrugging. I enjoyed ‘Rules for Werewolves’ without finding any great insight into the breakdown of American society within it.
October 10, 2015
The title of chapter 20 pretty much sums up my experience of Rules for Werewolves: "This place is awesome."
One of the characters recalls how, whenever he used to get his hands on a comic book, he would hear a little voice, saying, "Step inside. Step inside." This is that kind of book.
One of the characters recalls how, whenever he used to get his hands on a comic book, he would hear a little voice, saying, "Step inside. Step inside." This is that kind of book.
August 22, 2018
This was a very odd book. To start with, the Goodreads blurb is not even playing in the same ballpark: this book is nothing like Zone One. Seriously I do not even understand that comparison. A much better comparison would be the Coen movies like Blood Simple.
Secondly, this is written almost entirely in unattributed dialogue. Which you think might be weird or confusing, but it's really not, at all. Somehow it adds to the general hilarity.
Carrying on ... the beginning of this book had me laughing out loud. It's just so very ODD. I had boring real life stuff to do and had to stop reading for a little while, and when I got back to it, I wasn't laughing. I don't know if the book changed or I was just less surprised at that point. So here's what started me laughing and I'll just spoiler tag it in case you want tone fully surprised:
I mean, I don't know, I laugh at some odd stuff, so that had me laugh out loud laughing, but maybe it won't strike anyone else funny.
This book kind of morphs as it goes. Like one of those paintings you could do with layers and layers of transparent paint + clear medium, layer after layer building on each other and you can end up with something quite different.
The middle of the book started to drag a bit. Nothing really new was happening, the plot wasn't moving forward, and that little thrill of difference had worn off so I was getting tired of just reading pages of dialogue. Luckily, it gets moving again. Shit goes down.
There's also an "I was written before 2015" Trump reference that has very different connotations today:
And what are the rules for werewolves? Don't worry, they're all spelled out. These are just a few:
Secondly, this is written almost entirely in unattributed dialogue. Which you think might be weird or confusing, but it's really not, at all. Somehow it adds to the general hilarity.
—Let’s talk about it. Tell me who you are.
—Why would I do that?
—Because you’re under arrest.
—For what?
—For running.
—I haven’t run yet.
—You’re about to.
—You been coppin’ a long time, huh? You know everything that’s about to happen? You’re some kinda prophecy cop? That would make a good TV show.
—I think they already have a show like that. And if they don’t—they will soon.
—Yeah. There’s nothing new under the sun.
Carrying on ... the beginning of this book had me laughing out loud. It's just so very ODD. I had boring real life stuff to do and had to stop reading for a little while, and when I got back to it, I wasn't laughing. I don't know if the book changed or I was just less surprised at that point. So here's what started me laughing and I'll just spoiler tag it in case you want tone fully surprised:
I mean, I don't know, I laugh at some odd stuff, so that had me laugh out loud laughing, but maybe it won't strike anyone else funny.
This book kind of morphs as it goes. Like one of those paintings you could do with layers and layers of transparent paint + clear medium, layer after layer building on each other and you can end up with something quite different.
—But if you could control your craziness, wouldn’t it be a good thing? If you could adapt your reality to the situation, you’d be the perfect animal—unstoppable.
—But that’s impossible—controlling your craziness. The whole point of craziness is being out of control of your thoughts.
—My mother and father are the King and Queen of America. It’s a secret. Not even I know it—or I’m not supposed to.
The middle of the book started to drag a bit. Nothing really new was happening, the plot wasn't moving forward, and that little thrill of difference had worn off so I was getting tired of just reading pages of dialogue. Luckily, it gets moving again. Shit goes down.
There's also an "I was written before 2015" Trump reference that has very different connotations today:
... So I ran off. But when we get caught, or however it ends, you all are gonna go to jail, but I’m gonna be taken back to the White House—
—Caesars Palace. Or Trump Tower. The King and Queen of America would live somewhere fancier than the White House.
And what are the rules for werewolves? Don't worry, they're all spelled out. These are just a few:
Sleep when you’re so tired you collapse. Eat when you’re so hungry you attack. Die when you’re dead.
June 22, 2017
This was a fascinating debut novel. It's more a book about leadership, brotherhood, homelessness, and living on the fringes of society. The characters are all runaways and homeless and even though there are werewolves...I don't feel like it's really paranormal fiction, not really. Innovative and quite fascinating. I enjoyed it.
February 16, 2016
So, for the next few weeks, if you run into me, you might be subjected to me Talking About This Book. It really has just blown my mind that a book like this could not only be attempted, but that it works.
Full disclosure: I've known Kirk Lynn for years. I've often been awestruck by his skill as a playwright and as a wordsmith. This book re-affirms it.
Rules for Werewolves is a book that, on description, should not work. All dialogue, no description, not even dialogue tags? How can that work? It works when it's Kirk Lynn writing the dialogue, whose sense of voice and character and flow is so strong that the conversations and situations presented are so clear, you don't need anything else.
Again, I am awestruck. And I don't use that lightly.
Full disclosure: I've known Kirk Lynn for years. I've often been awestruck by his skill as a playwright and as a wordsmith. This book re-affirms it.
Rules for Werewolves is a book that, on description, should not work. All dialogue, no description, not even dialogue tags? How can that work? It works when it's Kirk Lynn writing the dialogue, whose sense of voice and character and flow is so strong that the conversations and situations presented are so clear, you don't need anything else.
Again, I am awestruck. And I don't use that lightly.
September 7, 2016
I'm not sure what to think of this one. I enjoyed it while I read it but at the same time I wonder what I read? The story was fairly clear and the characters were (as much as they could be, being only dialogue) interesting. It was the formatting of the story that made it an odd read. Very interesting and very odd. It was a bit like reading a play for me, a play about drifters who believe they're werewolves.
I'm going with three stars only because it's my neutral rating. I'm not sure how I feel about this one, but I am glad I read it.
I'm going with three stars only because it's my neutral rating. I'm not sure how I feel about this one, but I am glad I read it.
January 17, 2016
I didn't like this at first, thinking it was another YA type novel that relied on gimmicky writing devices. But about 1/2 of the way through, I realized it was a deliciously creepy and dark psychological thriller with some deeper themes.
January 11, 2017
"When two werewolves fight they both die because every werewolf is the exact same strength and we can only fight to the death."
I love this book. Avant-garde and visceral. There's something raw about it.
I love this book. Avant-garde and visceral. There's something raw about it.
January 22, 2016
Weird and pretty boring. I thought there might be a pay off at the end, but nope. The all-dialogue style of writing was clever and would have worked if the characters had something meaningful or interesting to say.
December 13, 2016
Navel gazing at it's best. This hyper-prescious collection of short vignettes is too long by a mile! What was probably a great pitch in the publisher's office, turned into a vanity project gone wild. Unhappy face.
October 3, 2017
I picked this up because I like books that dare to play around with the conventional way of how a story is narrated. "Rules for Werewolves" is almost completely told in dialogue, with very few short chapters here and there that come in regular prose and highlight some of the characters pasts, but yeah, mostly we have just dialogue, and thinking about it: maybe those prose parts were a bit unnecessary?! It works surprisingly well I thought. This specific style creates a really interesting vibe, and while I didn't really loved the book as whole, I fully appreciate the uniqueness of it.
Under all this style is a story of a group of runaways (teenagers and some into their 20's) who crash in houses of people who are on vacation. They refer to themselves as "Werewolves" and that was easily my favorite part of the book. I loved how vague this concept was kept, you are never fully sure whether this is true in a magical realism sort of way or whether it is just something they say to make themselves feel tougher. For me, it was a perfectly working metaphor that makes the novel stand above its run of the mill runaway/ gang tale.
What brought the book down a bit for me was its length, and it is not a long story but nonetheless I felt like it needed to be tighter and could have easily lost 50-60 pages. My attention always seemed to wander off and needed something happening to get back and invested into the story again. That might also be a bit due to the dialogue narrative but I do think an even shorter book might have worked better.
Under all this style is a story of a group of runaways (teenagers and some into their 20's) who crash in houses of people who are on vacation. They refer to themselves as "Werewolves" and that was easily my favorite part of the book. I loved how vague this concept was kept, you are never fully sure whether this is true in a magical realism sort of way or whether it is just something they say to make themselves feel tougher. For me, it was a perfectly working metaphor that makes the novel stand above its run of the mill runaway/ gang tale.
What brought the book down a bit for me was its length, and it is not a long story but nonetheless I felt like it needed to be tighter and could have easily lost 50-60 pages. My attention always seemed to wander off and needed something happening to get back and invested into the story again. That might also be a bit due to the dialogue narrative but I do think an even shorter book might have worked better.
July 5, 2023
A quarter in, and so far there have been no werewolves or other supernatural elements. Judging by the other comments something might crop up later on, but until the 24% mark nadda. (Unless everyone just keeps referencing the name the characters give themselves, Werewolves — in which case I don’t understand the fantasy tag the book has here and on Storygraph.)
The writing style is a tad unusual, with very short chapters, some of which are purely dialogue lines, with no accompanying text or tags. The rest of the chapters are usually recollections and reflections of a select character.
There’s a lot of characters, and the narrative style made it difficult to care about any of them. Plotwise, nothing much is happening, it’s just about a group of kids squatting in houses. The language itself doesn’t stand out either.
Overall I respect the author’s decision to just write whatever he wanted the way he wanted, but as a reader I didn’t quite engage. 1.5*
The writing style is a tad unusual, with very short chapters, some of which are purely dialogue lines, with no accompanying text or tags. The rest of the chapters are usually recollections and reflections of a select character.
There’s a lot of characters, and the narrative style made it difficult to care about any of them. Plotwise, nothing much is happening, it’s just about a group of kids squatting in houses. The language itself doesn’t stand out either.
Overall I respect the author’s decision to just write whatever he wanted the way he wanted, but as a reader I didn’t quite engage. 1.5*
May 13, 2020
This was a pretty solid book. The formatting was kind of confusing, because it's written mostly in dialogue. I had a hard time keeping track of who was talking, and it kind of took me out of the story when I had to refocus and figure out who was saying what. Even so, I loved the writing style, and the dialogue (though kind of confusing) was fun. It's a story about found family and creating your own place in the world. The characters were very interesting, and I loved the monologue sections. I feel like this would be a great book to read out loud, for speech or something. 3.5 stars
January 1, 2020
I liked the way this was written and I found many of the interactions interesting. in the last part of the story, I pretty much just kept reading until I got to the end, because I wanted to find out what would happen. the ending was kind of a disappointment for me, but I don't know what I was hoping to happen. more of an explanation of things that had happened? some kind of resolution? this isn't that kind of a book.
July 7, 2018
A great concept wrapped up in a bit too much external frippery, between the unattributed-dialogue-only chapters, the uniformly well-read cast, and the quasi-magical-realism. I wish Lynn would have just committed to one big stylistic flourish, because there's definitely a lot of good bits here and there otherwise.
January 25, 2020
This book was not without merits. The style it is told in is certainly interesting, and creative--but unfortunately, without being able to tell who is speaking the majority of the time, it creates a distance between the reader and the characters. I did like the questioning of capitalism and middle class constructs, including authority and group dynamics.
May 24, 2017
Not what I was expecting - though I didn't look too deep into the book before I chose it. The interesting writing style kept me intrigued. It was entirely dialogue except for a few chapters from supporting characters in monologue. Grimy feeling, well written in that style, very quirky.
Read
August 23, 2021DNF
The premise of the book really intrigued me but I just could not get past how confusing the writing was. It's all dialogue but it's impossible to figure out who is talking. Not my jam, but I hope the (possible?) movie comes out so I can see how this turns out.
The premise of the book really intrigued me but I just could not get past how confusing the writing was. It's all dialogue but it's impossible to figure out who is talking. Not my jam, but I hope the (possible?) movie comes out so I can see how this turns out.
April 5, 2018
interesting narrative,.
April 17, 2018
crust punks are people, too
April 19, 2018
Parts I do not understand. Parts that kept me on the edge of my seat. Interesting style. Interesting subject.
December 18, 2023
A pointless exercise
Read
August 14, 2024Multiple false starts. I couldn’t get into the stylized dialogue. DNF
October 16, 2024
This is a modern masterpiece. Important and tough and fun
August 15, 2021
I enjoyed it being mostly dialogue. characters were so well developed that you almost always knew who was talking without being told who it was.
June 18, 2022
Weird, chaotic, and fun! A bit of a dark edge in the tone that I wasn’t expecting! A pleasant surprise.
I really enjoyed this story. The ending felt a bit rushed for me, but I was really satisfied with how it all came together. A story that sings to the the hald feral, wandering, outsider’s soul most of harbor.
I HIGHLY recommend the audiobook if the dialogue only format doesn’t appeal to you. It extremely well done and breathes some extra life into the characters.
I really enjoyed this story. The ending felt a bit rushed for me, but I was really satisfied with how it all came together. A story that sings to the the hald feral, wandering, outsider’s soul most of harbor.
I HIGHLY recommend the audiobook if the dialogue only format doesn’t appeal to you. It extremely well done and breathes some extra life into the characters.
October 1, 2016
It was different than many books and its charm was in its unique presentation of familiar concepts. Great read!
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