Tropes and horror often go together like
Easter and Cadburry Eggs, and like the titular candy, people either find them
either comfortably familiar or exhaustingly frustrating. For every Howling or
Last Werewolf, there are many paranormal romances where being a werecreature is
an excuse for love scenes featuring torn clothes and animalistic abandon. But
there are some books that take the genre that’s been done (And done. And done.
Ad nauseum) and produces something unique and engaging. The coming-of-age novel
Mongrels by Stephen Graham Jones is one of these.
The nameless main protagonist in Mongrels is
not a werewolf, but he is part of a family of werewolves. They are constantly
on the run, either leaving the scene of one of their kills or scraping by on the
fringes of society. Through the eyes of its young protagonist, Mongrels not
only introduces some intriguing ideas to the werewolf mythos that go against
what has become anathema, it also showcases some very engaging characters.
Other than the protagonist, there are the maternal and paternal figures of his
aunt Libby and his uncle Darren, both offering lessons through their stories
(which Jones uses to great effect) and through their colorful exploits/examples
of what to do and what not to do.
The novel can be seen as a discussion of
class, with these low-income werewolves’ adventures beneath the poverty line
and the subsequent invisibility it provides, but this novel also has a great
coming-of-age narrative where the protagonist discovers the prerequisite first
love and loss as well as what it means to be an individual while maintaining
ties to family. In this werewolf novel, the beasts are the heroes and the real
antagonist is, along with Darren’s questionable decision-making skills, the
society that shuns them and their lifestyle.
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