When a nameless, struggling actor in 1970s New York gets the call that an enigmatic director wants him for an art film set in the Amazon, he doesn't hesitate: He flies to South America, no questions asked. He quickly realizes he's made a mistake. He's replacing another actor who quit after seeing the script - a script the director now claims doesn't exist.
The movie is over budget. The production team seems headed for a breakdown. The air is so wet that the celluloid film disintegrates. But what the actor doesn't realize is that the greatest threat might be the town itself and the mysterious shadow economy that powers this remote jungle outpost.
Entrepreneurial Americans, international drug traffickers, and M-19 guerillas are all fighting for South America's future - and the groups aren't as distinct as you might think. The actor thought this would be a role that would change his life. Now he's worried if he'll survive it.
Inspired by a true story from the annals of 1970s Italian horror film and told in dazzlingly precise prose, We Eat Our Own is a resounding literary debut, a thrilling journey behind the scenes of a shocking film and a thoughtful commentary on violence and its repercussions.
©2016 Kea Wilson (P)2016 HighBridge, a division of Recorded Books
The premise of this story had promise, and the narrator was awesome - his voice and accents gave such color to the story. The narrative, itself, however... Meh. The entire "I am Richard Trent/you are Richard Trent" sequence was so off-putting that I almost gave up. I powered through to the end, which was somehow rushed in relation to the rest of the story.
The first half of the book, with its just-non-linear-enough-to-confuse style, was boring, and unimpressive. There wasn't enough action, suspense or real sense of fear for this to qualify as horror, which was the ultimate letdown about this book. I do wonder if a physical copy of the book could have swayed me, as the writing style used has been deemed rather polarizing. It was a nice change of perspective since second person isn't used as often as first or third, but that's probably the best selling point the writing offers.
Is it worth a listen? Eh. The narrator is totally worth a listen, but the book isn't offering anything to fans of the genre, fans of the source material, or those that enjoy something even slightly darker in tone. Perhaps Kea's next effort will bring something more original to the table.
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