PositiveThe Guardian (UK)The ideas in Nightbitch may not be new but they’re given renewed urgency by the story. As with Kafka’s Metamorphosis or the gorier feminist tales of women becoming animals in Angela Carter’s The Bloody Chamber, this is an archetypal character, seen in close-up but with a distance between her and the narrator. Yoder’s voice is precise and funny, pitch-perfect as it modulates between wry social observation and ecstatic accounts of the mother’s nights of gnashing rabbits in her neighbours’ gardens. There is astonishing skill and dexterity here; the story retains the graceful distance of the fable but has far more stream of consciousness and social observation than we expect in a fairytale ... The situation builds to a crisis, with the mother’s violent urges becoming more dangerous. Something has to change and the answer comes through art. I wondered if too much was made of it as a solution to life – the sense that she has a vocation to fulfil feels a little over-weighted. Some of the book’s vision of nature loses its charge when it’s put back into the gallery. But as a vision of womanhood and of motherhood, this remains a terrifically alive and imaginative tale of \'a wild, complicated woman with strange yearnings\' – an important contribution to the engagement with motherhood that rightly dominates contemporary feminism.