This is more than just a fun little novella about scary monsters and nasty humans killing each other....Burrowed between the bones are hints of commentary on climate change and environmental exploitation, racism, homophobia, privilege and power, and capitalism. This isn’t a novella about social justice issues, but like any good work of speculative fiction, it fully embraces and eagerly examines the larger social context of which it is a part. Jennifer Giesbrecht’s subtext is both subtle and sharp; it cuts deep and the wound lingers long after the last page ... I wish the story had been a wee bit longer...On the other hand, the story is so steeped in brutality that if it were any longer it would teeter over the edge from delightfully grotesque to unnecessarily perverse. At novel-length, the violence would be nearly unbearable, but as a novella it is much more manageable ... Giesbrecht’s vivid descriptions help ease some of the violent tension. Often poetic, occasionally lurid, the way she depicts and describes Elendhaven, its inhabitants, and the world beyond is truly wonderful. Sentences dance across the page in a display that is equal parts sumptuous and practical ... when Giesbrecht applies all that talent to worldbuilding and exploring its mythology, the results are thrilling ... better than good. It’s frakking great.
... [a] vicious bruise of a novel ... Elendhaven is as fully formed as Mervyn Peake’s Gormenghast series with truly repellent characters who don’t possess a shred of moral fiber. Yet the right readers will still love them, as newcomer Giesbrecht is a fantasy writer to watch with a sure command of her world.
... delivers in its darkness ... Giesbrecht’s prose draws you in from the first page. The world and characters of Elendhaven are rich and immersive, accompanied by gothic imagery so vivid that you can picture each scene in every bit of detail. Giesbrecht writes with a distinct voice that transports you into Elendhaven. The dialogue is lively, which is a nice change of pace from the grim setting, and I appreciated the dry, dark humor. The banter between the sorcerer and the monster is very entertaining, and their quirks and personality clashes make for an interesting dynamic ... I enjoyed the book so much that I wish it had been longer. For some of the parts that were summarized, I would’ve liked to have gotten more scenes, such as how the sorcerer perfected his plan or how the monster collected things for the plan. I also felt that it needed a bit more conflict to really hammer in the struggle that the monster and the sorcerer undergo as they execute their plot. Despite these reservations, the novel ultimately comes together in a satisfying conclusion ... This twisted tale is most definitely not for the faint-hearted. Parts of the book are gory, violent and quite dark, but there are also moments of warmth sprinkled throughout. Lovers of horror, dark fantasy and gothic stories will want to add this one to their TBR list.
... dark, atmospheric ... The uncovering of secrets and the evolving relationship of Johann and Florian is a true delight and is supported by crisp dialogue and narration. With elements of gothic, horror, and fantasy, the story will appeal to readers who enjoy witty and dark tales smeared with blood and vengeance.
... readers hoping for a nuanced exploration of (monstrous) queer identity to accompany Giesbrecht’s gothic world should lower their expectations ... There’s a grand tradition of women and AFAB (assigned female at birth) authors writing horror stories featuring queer male relationships, but The Monster of Elendhaven seems to owe less to Anne Rice or Billy Martin (formerly known as Poppy Z. Brite) than it does to Yaoi, the Japanese manga category for male/male love stories created by and for women ... In the absence of a (com)passionate dark love story or a titillating will-they-won’t-they, the appeal of The Monster of Elendhaven lies in Giesbrecht’s florid prose. It’s delightful to read similes ... There are times, though, when Giesbrecht’s cleverness feels gratuitous ... Complaining about excess in a novel about Magical Oscar Wilde shacking up with Sexy Babadook to commit mass murder is missing the point, though. Giesbrecht has indeed, as the front flap promises, painted a 'darkly compelling fantasy of revenge.' But just as Johann continuously searches for a pain exquisite enough to leave a lasting mark, queer readers may find themselves feeling curiously unmoved by The Monster of Eldenhaven’s doomed romance.
Full of foul, intoxicating odors and fouler characters, this disquieting short novel employs serial suicide and multiple homicides to offer criticism of its decadent setting ... Giesbrecht tries for a sardonic tone in showing how societies deserve the monsters that they produce, but the imagery of pestilence and splattered bodily fluids tips the balance from picaresque to grotesque. Her work goes beyond grimdark to something more like grimglum, and few readers will be able to stick it out even for the brief length of this misery-marinated story.
