Supernatural; Romance ♠
Author: Patricia Briggs
This book was published in July 2008, the first of the Alpha & Omega series. It holds a 4.11 rating on Goodreads. The series is now a graphic novel series, as well.
Anna never knew werewolves existed, until the night she survived a violent attack… and became one herself. After three years at the bottom of the pack, she’d learned to keep her head down and never, ever trust dominant males. Then Charles Cornick, the enforcer—and son—of the leader of the North American werewolves, came into her life.
A werewolf tale with very little bite, and a pathetic protagonist for whom you may root out of pity, or grow terribly bored with. The latter was my experience.
To preface, I am very fascinated with wolves and pack structure, and my favourite werewolf narrative to date has been the film Ginger Snaps. I also enjoy the Bitten TV series, although I had never read any werewolf fiction before Cry Wolf (unless you count the shorts in Angel Carter’s The Bloody Chamber and Stephanie Meyers’ depiction of the werewolves in Scarlet). I chose Briggs because I had read that she was known for her action-packed stories and strong female lead, Mercy Thompson. Cry Wolf takes place in that same universe but is, as far as I can tell, altogether different. It has an original (if sometimes laughable) take on pack structure, and a sterile take on romance within it.
Anna, the Victim-Hero
The heroine of this book, if you can call her that, is Anna. As the protagonist, the reader should be able to rightfully predict a certain level of character growth and heroism, but I got none of that out of this book. It’s important to note that Anna is a victim, and has been for years. Treated as a submissive wolf within her former pack, one can only imagine the tortures she would have endured. That she survived should be telling of her strength, but the trauma overpowers her.
I appreciate that Briggs took the realistic route here and let Anna be a wreck, but it was very difficult for me to spend 300 pages in the headspace of a victim. Specifically, a victim of male dominance. Surprisingly, the difficulty did not spring from any sort of too real depictions of the abuse, and maybe that was the problem. The details of Anna’s story are grazed over so it’s difficult to really feel them with her. Instead, I just found myself rolling my eyes every time she’d cower or crumble because I wanted her to stop being so pathetic. I couldn’t sympathize because, it seems, the author didn’t really want me to.
She has been saved from her pack by Charles, a werewolf enforcer whose standing basically makes him a prince. A real fairytale, right down to the lack of true connection. In fairytales, the prince sweeps the princess off her feet, away from the evil stepmother, the end. In the same way, Anna and Charles’ connection seems as though it was instant, based on nothing, and surviving on nothing. No spark; just a desire to be mated. And yes, the word “mate” is on every other page along with some form of “you’re mine.” Turns out, Charles chooses Anna as a mate because she is an Omega. In wolf packs, the omegas are the bottom of the food chain acting mainly as servants to the others, bullied to no end. Sometimes, they tire of the abuse and wander off to find new packs where they might challenge an alpha and gain better standing. Not in Briggs’ world. Omegas have special powers to soothe and comfort, are less violent, and more valuable. So Charles didn’t really fall in love with Anna, just her omega scent? Beautiful.
By the end, she finds her true strength. It’s not violence or kicking ass. She’s a soother. And when it comes down to it, and witches need to be fought, she might step up. I wasn’t very impressed with whatever (I won’t say what) is supposed to pass for her growth from victim to hero.
Narrative and Plot Development
I also wasn’t impressed with the story or plot development which is slow in most places and convoluted in others. Briggs’ writing is always grammatically correct, but this can sometimes lead to a boring read. There aren’t any prose that scream creativity or passion or even atmosphere and tone. They’re just words, followed by more words – usually “mate”, “mating”, or “mine”.
The story grabbed me in the first few pages which are told from the perspective of a mysterious man in the cold Montana wilderness, who risks his life to save a young man from being attacked by a beast, becoming one himself. Personally, I liked this idea and wanted to know a lot more about the rogue. A true horror narrative was somewhere in there but it didn’t develop. Instead, most of the pages are dedicated to Charles and Anna’s relationship and how she is trying to overcome her fears. I expected more action than I got – and why were there witches? I’m still not sure if it worked for me.
However, I did like how Briggs swapped character point-of-views often enough that the reader can learn about others. It was done well enough.
With a 4.11 rating, I know a lot of people loved this book and will disagree with my criticisms. That’s fine. To each their own. Paranormal romance has never been my thing, and Cry Wolf was simply not the type of werewolf story I was looking for when I picked it up.
I give it 1 spade: ♠* for creativity.
*My rating is based on a five-spade system. The rating is decided based upon how well/uniquely the book: 1) develops story and plot; 2) develops characters; 3) accomplishes or deconstructs the conceits of its genre; 4) raises thought-provoking issues; 5) discusses important issues. This system has been developed according to my own understanding of what makes a book "good." It is therefore subjective.