{"id":7914,"date":"2016-05-11T09:00:34","date_gmt":"2016-05-11T13:00:34","guid":{"rendered":"http:\/\/cemeterydanceonline.com\/?p=7914"},"modified":"2018-06-12T16:15:21","modified_gmt":"2018-06-12T20:15:21","slug":"the-top-werewolf-films-you-probably-havent-seen-but-should-stephen-graham-jones-talks-mongrels","status":"publish","type":"post","link":"https:\/\/www.cemeterydance.com\/extras\/the-top-werewolf-films-you-probably-havent-seen-but-should-stephen-graham-jones-talks-mongrels\/","title":{"rendered":"The Top Werewolf Films You (Probably) Haven\u2019t Seen But Should: Stephen Graham Jones Talks ‘Mongrels’"},"content":{"rendered":"

\"PaperCuts-web\"<\/p>\n

Paper (n):\u00a0material manufactured in thin sheets from the pulp of wood or other fibrous substances, used for writing, drawing, or printing on<\/em><\/div>\n
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Cut (v):\u00a0make (a movie) into a coherent whole by removing parts or placing them in a different order.<\/em><\/p>\n

The Top Werewolf Films You (Probably) Haven\u2019t Seen But Should: Stephen Graham Jones Talks ‘Mongrels’<\/h5>\n<\/div>\n

\"Mongrels_cover-678x1024\"When I initially pitched the idea for this column to the editors at <\/span>Cemetery Dance Online<\/span><\/i>, it was a very, uh… loose pitch. The \u201chook\u201d was me discussing horror movies and horror fiction, wherever they happen to intersect. <\/span><\/p>\n

And while that loosey-goosey connective theme has probably turned off some readers (\u201cnow we\u2019re just reading a list of books he likes? Get out of your own butt, guy!<\/a>\u201d), it\u2019s meant that I basically get to write about whatever I want and have it get a bunch of eyes on it. <\/span><\/p>\n

Amazingly those <\/span>suckers <\/span><\/del>visionaries at CD were cool with that. Also I keep coming up with jokey clickbait headlines, so that probably helps. There is a list of \u201cTop Werewolf Films\u201d somewhere in this interview, but you have to read to find it. <\/span><\/p>\n

Having no set format means I get to have guests. Which is a long-winded way of saying that, this month: I wanted to talk to one of my favorite authors! And he said yes!<\/span><\/p>\n

For those who don\u2019t know the work of Stephen Graham Jones, the door\u2019s thatta way, see yourself out…<\/span><\/p>\n

No! I\u2019m just kidding, don\u2019t click away! It\u2019s cool. You\u2019re cool. Maybe. There\u2019s no way of knowing, really, but you found this article so that\u2019s one point in your favor.<\/span><\/p>\n

Even if you <\/span>do<\/span><\/i> know the work of Stephen Graham Jones, it\u2019s unlikely that you know <\/span>all<\/span><\/i> the work of SGJ. He\u2019s published upwards of 15 novels, 6 collections, and 200-something short stories, and within that output has genre-hopped like crazy. He\u2019s also got a PhD and teaches horror at a university level (more on that in the interview). <\/span><\/p>\n

His new novel, <\/span>Mongrels<\/span><\/i>, is both a perfect starting point for new readers and a crystallization of what long-time fans have been enjoying for years. It\u2019s also one of the author\u2019s most high-profile releases, dropping this week in hardcover from William Morrow. <\/span><\/p>\n

This is an interview, not a review, but let me take a second to tell you that I\u2019ve read <\/span>Mongrels<\/span><\/i> and it is a book you should be buying. We\u2019re not even halfway through a year <\/span>stacked<\/b> with anticipated releases, but this is already on that coveted \u201cbest of\u201d shortlist. <\/span><\/p>\n

Humane, grisly, and funny, I think the marketing materials are deliberately downplaying how much of a horror novel is in this cross-country werewolf bildungsroman. And I get that: you catch more flies with honey and you attract more \u201cgeneral readers\u201d (gross) when you don\u2019t use the H-word, but anyone who reads this site with any regularity is probably looking for that word. <\/span>Mongrels <\/span><\/i>is a beautiful, unnerving, country song of a novel. <\/span><\/p>\n

So, no more ado. More interview: <\/span><\/p>\n

ADAM CESARE:<\/b> Mongrels<\/span><\/i> is working on a lot of levels. A lot. And I\u2019m going to predict right now that non-genre critics and folks in <\/span>other<\/span><\/i> genres are going to try and \u201cclaim\u201d this novel for themselves. But they can all go to hell (I\u2019m especially looking at <\/span>you<\/span><\/i>, Urban Fantasy), because this is a werewolf novel, and among one of the best ever written. <\/span><\/p>\n

If the horror people aren\u2019t allowed to call dibs on a werewolf novel\u2014even one tonally and stylistically divergent from most \u201chorror novels\u201d\u2014what kind of world are we living in?<\/span><\/p>\n

That\u2019s not my first question, more of a preamble that means to ask: <\/span><\/p>\n

Lycanthropy in the novel can and will be seen as a stand-in for a lot of abstract ideas (class, race, puberty, imagination, etc.–<\/span>there are a ton of others, right?), but, as a genre fan and academic, where did you take the brass-tacks of your werewolves \u201crules\u201d from? Film, fiction, folklore, or a mixture? <\/span><\/p>\n

STEPHEN GRAHAM JONES:<\/b> I\u2019d like to say I smuggled the rules of the species out from <\/span>The Howling<\/span><\/i>, as that\u2019s the altar at which I werewolf-worship, but to be honest, the only real parameters you get for the werewolf there are that they change, and they\u2019re bitey. Well, I guess fire and silver kills them, right? And they\u2019re infectious. And kind of hyper-sexual. And they like their burgers rare. More I talk about it, more I suspect I did take from <\/span>The Howling<\/span><\/i>. <\/span><\/p>\n

\"The-wolfman\"But, consciously, what I was working from, it was <\/span>The Wolf Man<\/span><\/i>. 1941. It always confused me that the Bela-wolf could bite Talbot, and then Talbot doesn\u2019t become the same kind of werewolf Bela was. Bela went full-on wolf\u2014you can see it back there, in fast silhouette\u2014but mopey old Talbot, he just gets halfway there, maybe. Instead of writing that off as special effects limitations circa 1941, I figured, well, what if that\u2019s the way it is? What if Bela was born into this blood? Evidently that means he can lean over onto a pair of forepaws. Talbot, though, he\u2019s just bit, he\u2019s just infected, so the werewolf rages through him. It takes him as close to wolf as it can get\u2014the head, the hands, the feet\u2014but it\u2019s finally just a death sentence. Man-wolves, they\u2019re never smart enough to not end up in the public spotlight. They can\u2019t feel the crosshairs settling between their shoulder blades. They just want to bite the world. That\u2019s what I was working with, or from, with Mongrels<\/em>. Well, that and my kind of disgust that so many werewolf transformations refuse to adhere to conservation of mass. How can a hundred and eighty pound dude morph up into a nine-foot tall, three-hundred pound monster? What are those extra hundred and twenty pounds made from? Wishful thinking? Dramatic license? Magic?<\/span><\/p>\n

AC:<\/b> I wore that VHS out and I never ever thought about the two werewolf types in <\/span>The Wolf Man<\/span><\/i>. Feeling outclassed, already. <\/span><\/p>\n

But you\u2019re giving too much credit to the work of others, there\u2019s a bunch of werewolf lore in here that\u2019s gotta be pure Stephen Graham Jones.<\/span> I\u2019m thinking of grandpa\u2019s story about the tick, which comes back later in a discussion of proper werewolf attire (and is maybe prefigured by your short story \u201cSo Perfect\u201d<\/a> which is gross as hell). <\/span><\/p>\n

SGJ:<\/b> Yeah, I mean\u2014I just considered “What if the werewolf were real?” Once you imagine that, then, yeah, there\u2019s no reason they wouldn\u2019t get ticks. So many werewolf stories, they want to make the struggles the werewolf faces be grand and epic. \u201cOh, man, the Nazis want to turn me into a weapon! Oh, man, that family of hunters is after me again! Oh no, the vampires are back!\u201d And on and on. None of that\u2019s ever something I can finally connect with, though. What we look for in stories, it\u2019s pieces of ourselves. That\u2019s how we identify. Like looking at a shattered mirror. You see yourself there, and there, and you want to reach in, hold on. I don\u2019t know what it\u2019s like to have a family of Nazi vampires after me. But I do know what it\u2019s like to play in the tall grass of a lake all day, then find the ticks later that night, drinking me in. <\/span><\/p>\n

AC:<\/b> I mean, I was more of an indoor kid. Ticks weren\u2019t a big part of that, but I\u2019ve read enough about the outside world to <\/span>understand<\/span><\/i> the sentiment. <\/span><\/p>\n

You teach a class about werewolves, right? I know you\u2019ve had a few wolves running around your short fiction, but does teaching that class predate all or part of the composition of <\/span>Mongrels<\/span><\/i>? What\u2019s <\/span>that<\/span><\/i> like? <\/span><\/p>\n

SGJ:<\/b> That werewolf course, it\u2019s kind of right in the middle of writing <\/span>Mongrels<\/span><\/i>. I wrote the story that became chapter one right before diving into all the research for the werewolf course\u2014piles of books and movies, articles and more\u2014and then, coming out \"sb3\"of that research, I fast-wrote the rest of <\/span>Mongrels<\/span><\/i>. Teaching the class, though, that wasn\u2019t until I\u2019d been months done with <\/span>Mongrels<\/span><\/i>. I\u2019ve done it once or twice since then, I think. And it\u2019s pure learning, for me. What I\u2019ve finally figured out, at least for now, is that there\u2019s basically four kinds of werewolf story. There\u2019s the \u201cI\u2019m bit, what am I?\u201d-kind, which <\/span>American Werewolf in London<\/span><\/i> exemplifies in iconic fashion. There\u2019s the \u201cSomeone here\u2019s a werewolf\u201d-kind\u2014see <\/span>Silver Bullet<\/span><\/i>, yeah? Then there\u2019s that rarest of creature, the \u201cMonster\u201d werewolf. You hardly ever see these. Only couple I can identify would be <\/span>Dog Soldiers<\/span><\/i> and <\/span>Howl<\/span><\/i>, probably. These are stories where, really, were the werewolf a mer-man, say, you\u2019d have pretty much the same story. Trick is, all the man\/beast stuff involved with the werewolf, it\u2019s so fascinating that hardly any werewolf stories stay pure Monster. Just, there\u2019s so much territory to explore. The fourth kind is the kind most in fashion now, I\u2019d say. I call it \u201cSecret History.\u201d Think <\/span>Bitten<\/span><\/i>, say, or <\/span>Blood and Chocolate<\/span><\/i>. Werewolves have always existed, are just another parallel species, a shadow culture. These stories are maybe the most popular right now as they allow a kind of metaphoric space where the story can discuss and critique race relations, class-stuff. Secret history werewolf stories seem to me more about our world right now, I mean. But they can be bloody, too. They\u2019re best when they are, really. \u00a0<\/span><\/p>\n

AC:<\/b> As a quasi-layman, it would seem to me that there\u2019s no one or two definitive, canonical werewolf novels. The way, say, <\/span>Dracula<\/span><\/i> is to vampires. There are plenty of \u201cknown\u201d werewolf stories for genre fans, but the one that seems to cross most the cultural lines is <\/span>The Wolf Man<\/span><\/i> (1941), and that\u2019s a film. If Stephen Graham Jones were going to crown something as the essential werewolf text, what would it be? <\/span><\/p>\n

SGJ:<\/b> Hard call. But we\u2019ve been gifted with so much, this last decade. Buehlman\u2019s <\/span>Those Across the River<\/span><\/i>, Percy\u2019s <\/span>Red Moon<\/span><\/i>, \"wolfen\"Barlow\u2019s <\/span>Sharp Teeth<\/span><\/i>, Garton\u2019s <\/span>Ravenous<\/span><\/i>. I really dug <\/span>Liar<\/span><\/i> and <\/span>Blood for the Sun<\/span><\/i>, too. And you can click back a decade earlier, pick up Skipp and Spector\u2019s so, so excellent <\/span>Animals<\/span><\/i>. That novel kills, man. A lot of people say that George RR Martin\u2019s <\/span>The Skin Trade<\/span><\/i> is as good as the werewolf story gets. And they might be right. I really like the attention Martin pays in that to the culture of the werewolf. It\u2019s easy to focus just on the animal, on the beast. But they have ways of life that are peculiar to them, too. And I so dig that there\u2019s an asthmatic werewolf in <\/span>The Skin Trade<\/span><\/i>. And we can\u2019t forget McCammon\u2019s <\/span>The Wolf\u2019s Hour<\/span><\/i>, either. I mean, reading Carrie Vaughn\u2019s Kitty series, you see that, unlike so many, she actually pays attention to conservation of mass. It\u2019s refreshing. Same with McCammon. His werewolf Michael Gallatin, he ages in canine years when he\u2019s running around on all fours. Which I just stole, it was so good. But, you asked for one, not all of them. And, while I wish I could say <\/span>The Howling<\/span><\/i>, what really fired my imagination all those many years ago, and still\u2019s curled up in my head, snarling, it\u2019s Strieber\u2019s <\/span>The Wolfen<\/span><\/i>. That species, and how they think, how they survive\u2014they\u2019re my model, pretty much. The werewolves in <\/span>Mongrels<\/span><\/i>, they look like Strieber\u2019s wolfen. Were one to flash by you out in a pasture, you\u2019d know something just happened, but you\u2019d maybe write it off to a big, fast dog, say. But, slow that down to frame-by-frame, and you see that these wolves are too long in the foreleg. And their paws, they\u2019re kind of wrong. And\u2014and what\u2019s that with their necks and heads? Their eyes? However, if you get close enough to see all that, then you\u2019re not telling anybody. That close, you\u2019re food, sorry. <\/span><\/p>\n

AC:<\/b> That\u2019s a pretty next-level list. I could stop with the questions, Buzzfeed that up with some pictures, title this \u201cThe Best Werewolf Books You\u2019ve (Probably) Never Read\u201d and call it a day.* It may even net me more readers, but where\u2019s the fun in that? <\/span><\/p>\n

With books out of the way, what films are required viewing for Professor Jones? The more under-seen and less name-checked, the better. <\/span><\/p>\n

\"220px-Werewolfoflondon\"SGJ<\/strong>: So, just ones not everybody knows, right? I\u2019ve already hit the big players anyway, I think. How about <\/span>When Animals Dream<\/span><\/i>, then? That really plumbs the cost of transformation. I don\u2019t much like it when going wolf is like a superpower. Rather, I like the \u201ccurse you learn to live with\u201d model. So, I mean, for me <\/span>Ginger Snaps<\/span><\/i> is as good as it gets, definitely. And forever. Also I\u2019d give a lot points to Professor Lupin, from Potter land. First, his werewolf is beautiful and amazing, but more important, it\u2019s painful. It\u2019s something Landis taught us, and Jacob tried to get us to forget. We need to always keep it in mind, though. What else, what else . . . oh. You know, I really like that old Amanda Seyfried <\/span>Red<\/span><\/i> Riding Hood<\/span><\/i> (2011). I mean, it wasn\u2019t exactly indie or underground or anything\u2014built to be commercial, definitely\u2014but that moment when the werewolf\u2019s talking to her, and she says to it, “How are you doing this? Your lips aren\u2019t moving,” and he says back to her that that\u2019s not for her to worry about\u2014I was so sold, right there. I love that kind of stuff, that in-character dismissal of what would seem to be story or world problems. It\u2019s a very Herschell Gordon Lewis tactic. And we\u2019re all his grandchildren, I\u2019d say. But back to smaller werewolf films. <\/span>Wolfcop<\/span><\/i> has one of the cooler \u201cwerewolf builds a bad car\u201d-montages I guess I\u2019ve ever seen. <\/span>Late Phases<\/span><\/i> is pretty happening. Nick Damici always brings it. But, you know? People never watch <\/span>Werewolf of London<\/span><\/i> anymore. 1935\u2014six solid years before <\/span>The Wolf Man<\/span><\/i>, and already giving us a man-wolf. I think the transformation effects used in 1941 were initially meant for 1935, too, but got censored out and saved, as the Scopes Monkey Trial thing was still too recent, in 1935. It\u2019s why that transformation in <\/span>Werewolf of London<\/span><\/i> happens behind the pillars like it does. Way cool effect, wonderful workaround, but still, we like to see it hurt.<\/span><\/p>\n

AC<\/strong>: [Here\u2019s where I break the interview fourth wall and acknowledge that SGJ and I held this conversation via email correspondence. A lot of the email interviews get chopped up for word count, but I\u2019m not touching any of this. This dude just went from 2011\u2019s <\/span>Red Riding Hood <\/span><\/i>to Herschell Gordon Lewis to <\/span>Werewolf of London <\/span><\/i>facing censorship because of the Scopes Monkey Trial. Mad respect. It\u2019s like watching horror nerd aikido. I\u2019m going to send him pretend interview questions from now on just to get him to send me stuff like this.]<\/span><\/p>\n

For people who don\u2019t know your work (SHAME!**) it should be said that there is no one kind of Stephen Graham Jones story. Probably the most defining quality of your body of work, outside of some thematic echoes and a semi-regular revisiting of Texas, is how different most of your novels and stories are from each other. There are ones that read like annotated screenplays, ones that have zombie pro-wrestlers, more down-to-earth crime sagas, and a couple of serial killer stories that are just fucking terrifying. But reading this book, this werewolf book, I was most reminded of <\/span>Growing Up Dead in Texas<\/span><\/i>, which is probably one of your most\u2014pardon the generalization\u2014\u201cliterary\u201d novels. <\/span><\/p>\n

Then, in researching, I find you calling <\/span>Mongrels <\/span><\/i>80% autobiography, so I\u2019m guessing that\u2019s the connection between this and <\/span>Growing Up Dead<\/span><\/i>, which is presented as a weird invented (is it?) autobiography. I\u2019m probably being way too literal-minded, but if this is 80%, then what\u2019s the percentage in <\/span>Dead<\/span><\/i>? <\/span><\/p>\n

SGJ:<\/b> Yeah, that\u2019s how I\u2019ve been explaining <\/span>Mongrels<\/span><\/i> to people, actually. It\u2019s <\/span>Growing Up Dead in Texas<\/span><\/i>, just, with werewolves. As for <\/span>Growing Up Dead in Texas<\/span><\/i>\u2019s percentage? I\u2019d put it at seventy, seventy-five percent. Every page of that, I see a scene I lived through, one I remember. But there\u2019s made-up stuff too. I mean, made up so as to better get at the real thing. But not, like, historically accurate, not verifiable. If that matters. So much of it\u2019s real, though. Just achingly real, to me. Same with <\/span>Mongrels<\/span><\/i>. Just, moreso.<\/span><\/p>\n

AC:<\/b> Could you talk more about that quality of autobiography? Because I think a lot of writers sometimes confuse that old \u201cwrite what you know\u201d chestnut with what you\u2019re doing in these novels and, no offense to them, but they end up writing boring books. <\/span><\/p>\n

SGJ:<\/b> Maybe I can get at with<\/span> Demon Theory<\/span><\/i> best. Reason that book\u2019s in three parts? [<\/span>AC:<\/b> a little bit more background than what Jones provides: <\/span>Demon Theory<\/span><\/i>, if I\u2019m remembering correctly, is written as the imagined novelization\/treatment of an imagined slasher movie trilogy. It\u2019s pretty great.] There\u2019s the \u201chorror comes at you in trilogies\u201d-thing, sure. But that was just fun. <\/span><\/p>\n

\"demontheory\"What was real there to me, the reason I had to cut the story up into three discrete experiences, it was that, coming across a cotton field one fall when I was twelve, with my cousin Darla . . . let me start a touch earlier. I\u2019d wrapped my three-wheeler up a mile or two from where we lived, and got banged up in some way, so she was carrying me back to my porch. Kind of at top-speed, too, injuries being what they are and all. Why I know it was fall and not summer\u2014summer would make for a better story\u2014it\u2019s that the cotton, it was tall. Like, it was hitting the backside of your fingers when you were holding onto the grips. Anyway, we\u2019re burning down a row, she\u2019s got that throttle twisted all the way back, and we\u2019re both leaned forward to stay out of the wind, and, as happens, the cotton stalks got thick enough to push my right heel back into the grabby knobs of the rear tire on that side, and like that I was sucked down into that bad, bloody place between the peg and that spinning wheel. The three-wheeler clumped over me, and kept going. Somehow I wasn\u2019t too bad hurt to stand, though, so I got back on when Darla circled back around, and this time we were going even faster, because I was bleeding even more. Except\u2014it happened again. I got sucked down, cycled through, left back in the dirt. Then I climbed on again. And it happened one more time. So when I wrote <\/span>Demon Theory<\/span><\/i>, that was at the core of it, that was its beating heart. That was what gave it its shape, its structure. It\u2019s what made it real to me. What let me invest every sentence of it with blood. And stories without blood, man\u2014why even tell them? <\/span>Mongrels<\/span><\/i> is the same. Really, all my novels are like that. But <\/span>Mongrels<\/span><\/i> especially. Just, more, even. These werewolves in <\/span>Mongrels<\/span><\/i>, they\u2019re me and my family, growing up all over Texas. Going from place to place, name to name, situation to situation. Every line of this novel, for me, it\u2019s a beating heart all its own. It made me be more careful with them. This time out, I had no choice, I had to get everything as right as I could.<\/span><\/p>\n

AC:<\/b> And people are going to read that, then read the synopsis of the novel (a coming of age werewolf story where a young boy raised by his aunt and uncle waits to see if he\u2019s going to wolf-out) and think that you\u2019re putting them on. But I get it. There\u2019s an intangible, almost journalistic or documentary feel to the book.<\/span><\/p>\n

This is probably going to lead to a hackey question. But this <\/span>is<\/span><\/i> a column about the intersection between horror fiction and film, and a big part of that is adaptation. <\/span><\/p>\n

I can see a number of ways that <\/span>Mongrels <\/span><\/i>could be made into a film, a great film, but because our perspective is so close to the protagonist, it\u2019s not exactly like the prose is \u201cready-made\u201d for the screen. It wouldn\u2019t be a one-to-one adaptation. <\/span><\/p>\n

The book\u2019s going to be a monster hit, someone\u2019s going to make it into a movie (or TV show) at some point. How would SGJ himself do it?<\/span><\/p>\n

SGJ:<\/b> I think I\u2019d do it as a television series, really. I\u2019ve got the next two books of it planned out, I mean. It could go three seasons, and, once a room of writers get involved, there\u2019d probably turn out to be a lot more story in there than I even know. <\/span><\/p>\n

But, talking film? The trick would be crossing the time period of the novel\u2014which I\u2019m trying not to spoil\u2014in a couple hours, right? I think what I\u2019d likely do is distill the whole thing down to that last long chapter. Well, I\u2019d have bookends, I suppose. Up-front would be a bit to establish the life cycle of this family. Their pattern, their usual day. Then would come something to disturb that\u2014something that already happens in the first chapter, as-is\u2014and then they\u2019d run all the way to the last long chapter, which would be the dramatic spine of the movie, leaving the actual last chapter as a kind of coda, a resolution to the intro. If that makes sense. I mean, yeah, it\u2019d hurt, burning all the other good stuff, giving up the episodic structure. But movies are fundamentally different animals than novels, and come asking for different conventions, different constraints. What I\u2019d like, though, doing <\/span>Mongrels<\/span><\/i> as a movie? That the effects-budget would likely be higher. Werewolf stories need some serious effects dollars invested. Practical is the ideal, of course, but for the final form\u2014the Prof Lupin, say\u2014you\u2019d have to CGI some, too, I expect.<\/span><\/p>\n

AC:<\/b> Speaking of film, I like your film writing (mostly found on your blog<\/a><\/span>) just as much as your fiction. When are we going to get a book of essays or a non-fiction film book of some kind? Soon, right? If you\u2019re adverse to that, why?<\/span><\/p>\n

SGJ:<\/b> Thanks. Not at all adverse, of course, but, way I look at it, I just ramble on sometimes about this or that movie, and usually try to bring in all kinds of pseudo-theory and intertextual fun and kind of basic enthusiasm, but I wonder if I ever really have a thesis. Or, I kind of know I don\u2019t. I just like the talking, and the chance of hooking somebody else into this wonderfulness. Movie theaters, they always feel like the holy sanctuaries in life, these rare places where we\u2019re encouraged to dream. I go there every chance I get.<\/span><\/p>\n

AC:<\/b> Ha! That\u2019s a very poetic but also a very non-committal answer. Some folks at Cemetery Dance might end up reading this interview. I think they (or any other publisher that made it this far) should back the money truck up to your house so we can get that book of film criticism sooner rather than later. Thesis optional.<\/span><\/p>\n

Thanks so much to Stephen Graham Jones for taking the time to talk with me!<\/span><\/p>\n

Mongrels<\/span><\/i><\/a> is available right now. Buy it. It\u2019s great.\u00a0<\/span><\/p>\n

*Yeah, I, I made something like this into the actual title of this ~4,000 word article.<\/span><\/p>\n

**
\n\u00a0\"Shame\"<\/span><\/p>\n

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Adam Cesare is a New Yorker who lives in Philadelphia. He studied English and film at Boston University. His books include <\/em>Mercy House,\u00a0Video Night, The Summer Job,\u00a0and <\/em>Tribesmen.\u00a0He has an oft-neglected\u00a0website<\/a>\u00a0and tweets as @Adam_Cesare.<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Paper (n):\u00a0material manufactured in thin sheets from the pulp of wood or other fibrous substances, used for writing, drawing, or printing on \u00a0 Cut (v):\u00a0make (a movie) into a coherent whole by removing parts or placing them in a different order. The Top Werewolf Films You (Probably) Haven\u2019t Seen But Should: Stephen Graham Jones Talks … Continue Reading! “The Top Werewolf Films You (Probably) Haven\u2019t Seen But Should: Stephen Graham Jones Talks ‘Mongrels’”<\/span><\/a><\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[299],"tags":[298,294,42,691,300,692],"class_list":["post-7914","post","type-post","status-publish","format-standard","hentry","category-paper-cuts","tag-adam-cesare","tag-columns","tag-featured","tag-mongrels","tag-paper-cuts","tag-stephen-graham-jones"],"yoast_head":"\nThe Top Werewolf Films You (Probably) Haven\u2019t Seen But Should: Stephen Graham Jones Talks 'Mongrels' - 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