No catches, no fine print just unadulterated book loving, with your favourite books saved to your own digital bookshelf.
New members get entered into our monthly draw to win £100 to spend in your local bookshop Plus lots lots more…Find out more
Stephen Graham Jones is the author of fifteen novels and six story collections. He has received numerous awards including the NEA Fellowship in Fiction, the Texas Institute of Letters Jesse Jones Award for Fiction, the Independent Publishers Award for Multicultural Fiction, the This Is Horror Award, as well as making Bloody Disgusting's Top Ten Novels of the Year. Stephen was raised in West Texas. He now lives in Boulder, Colorado with his wife and children.
Highly Recommended. Mongrels is a gripping and unsettling novel and a fresh and contemporary take on the Werewolf myth that is rooted in the hound-to-mouth experience of working class America as much as it is in moonlit nights and woods. The story follows the coming of age of a boy being brought up by his grandfather, his aunt and his uncle. As we follow his episodic story, the family moving from one temporary house to another in a series of beat-up cars, we learn that this is no ordinary family and that it is something far bloodier than brute economics that separates from the good life. This is a sometimes gruesomely violent story, but Jones’ real skill is to weave the visceral nature of werewolf existence into everyday sensations and realities. And he does it with a wonderfully laconic prose, rich in the tones and styles of the America of the West and South. And we end up feeling empathy for his family. Yes, there are monsters within but they are harried and desperate people chased by hunters and their own nature. Stephen King’s fans will love this but also if you love Cormac McCarthy there is much here to enjoy. A reimagining of werewolves and America every bit as startling as Toby Barlow’s Sharp Teeth. Praise doesn’t come much higher in my book.
The Fast Red Road - A Plainsong is a novel which plunders, in a gleeful, two-fisted fashion, the myth and pop-culture surrounding the American Indian. It is a story fueled on pot fumes and blues, borrowing and distorting the rigid conventions of the traditional western. Indians, cowboys, and outlaws are as interchangeable as their outfits; men strike poses from Gunsmoke, and horses are traded for Trans-Ams. Pidgin, the half-blood protagonist, inhabits a world of illusion - of aliens, ghosts, telekinesis, and water-pistol violence - where television offers redemption, and 'the Indian always gets it up the ass.' Having escaped the porn factories of Utah, Pidgin heads for Clovis, NM to bury his father, Cline. But the body is stolen at the funeral, and Pidgin must recover it. With the aid of car thief Charlie Ward, he criscrosses a wasted New Mexico, straying through bars, junkyards, and rodeos, evading the cops, and tearing through barriers 'Dukestyle.' 'Charlie Ward slid his thin leather belt from his jeans and held it out the window, whipping the cutlass faster, faster, his dyed black hair unbraiding in the fifty mile per hour wind, and they never stopped for gas.' Along the way, Pidgin escapes a giant coyote, survives a showdown with Custer, and encounters the remnants of the Goliard Tribe - a group of radicals to which Cline belonged. Pidgin's search allows him to reconcile the death of his father with five hundred years of colonial myth-making, and will eventually place him in a position to rewrite history. Jones tells his tale in lean, poetic prose. He paints a bleak, fever-burnt west - a land of strip-joints, strip-malls, and all you can eat beef-fed-beef stalls, where the inhabitants speak a raw, disposable lingo. His vision is dark yet frighteningly recognizable. In the tradition of Gerald Vizenor's Griever, The Fast Red Road - A Plainsong blazes a trail through the puppets and mirrors of myth, meeting the unexpected at every turn, and proving that the past - the texture of the road - can and must be changed.