By Brian McGreevy
(Farrar Straus Giroux, Paperback, 9780374534462, 336pp.)
Publication Date: April 16, 2013
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The body of a young girl is found mangled and murdered in the woods of Hemlock Grove, Pennsylvania, in the shadow of the abandoned Godfrey Steel mill. A manhunt ensues--though the authorities aren't sure if it's a man they should be looking for.
Some suspect an escapee from the White Tower, a foreboding biotech facility owned by the Godfrey family--their personal fortune and the local economy having moved on from Pittsburgh steel--where, if rumors are true, biological experiments of the most unethical kind take place. Others turn to Peter Rumancek, a Gypsy trailer-trash kid who has told impressionable high school classmates that he's a werewolf. Or perhaps it's Roman, the son of the late JR Godfrey, who rules the adolescent social scene with the casual arrogance of a cold-blooded aristocrat, his superior status unquestioned despite his decidedly freakish sister, Shelley, whose monstrous medical conditions belie a sweet intelligence, and his otherworldly control freak of a mother, Olivia. At once a riveting mystery and a fascinating revelation of the grotesque and the darkness in us all, "Hemlock Grove" has the architecture and energy to become a classic in its own right--and Brian McGreevy the talent and ambition to enthrall us for years to come.
“It takes a rare stroke of genius to reconfigure the gothic novel within the postindustrial barrens of steel country, and another entirely to upstage this conceit with a mythic and ambitious story of adolescence and alienation. Like a collaboration between Edgar Allan Poe and J. D. Salinger, this is a real emerging talent.” —Philipp Meyer, author of American Rust "A wonderfully creative and twisted reinvention of classic monster archetypes, wrapped up in a mysterious thriller. I loved it. Brian McGreevy is a welcome new voice in horror literature, but be warned: it's not for the faint of heart, or stomach." —Eli Roth, director of Hostel
“This is . . . horror with a respect for its literary antecedents.” —Yvonne Zipp, The Washington Post