Fiendish Deeds
P. J. Bracegirdle
This is the first book in the series that introduces Will Henry and Dr. Warthrop in their exploration of monstrous creatures.
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by Rick Yancey
A grisly, surprisingly literary Gothic horror novel that uses a wilderness monster hunt to explore obsession, hunger, and the bruising bond between a boy and his brilliant, neglectful mentor.
This is the second book in Rick Yancey's Monstrumologist series, presented as the recovered journals of William James Henry, who in 1888 was the twelve-year-old orphaned assistant to Dr. Pellinore Warthrop, a scientist who studies real-world monsters. Here a plea from Warthrop's past sends the pair into the frozen Canadian backwoods to search for a missing colleague who went looking for the Wendigo, a creature from Algonquian legend. Warthrop insists the thing cannot exist. What they find, and what follows them back to New York, tests that certainty.
Yancey writes in a deliberately old-fashioned, ornate voice full of long sentences, philosophical asides, and sharp, often darkly funny dialogue between Will Henry and the doctor. The horror is visceral and frequently gruesome, but the book is just as interested in arguments about science versus belief and in the slow, painful history between Warthrop and the people he once loved.
Reading it feels less like a quick creature feature and more like a Victorian novel that happens to contain monsters. It moves in two very different registers, a tense survival story in the wilderness and a more claustrophobic, talky stretch in the city, so pacing varies. Readers who enjoyed the first book's atmosphere will find this one deeper in emotional terms, with Will Henry's loyalty and loneliness at its center. It works best read after the first volume, though it can stand alone.
Warthrop is a rationalist who believes monstrumology must deal only with creatures that obey natural law. The Wendigo forces him, and the reader, to ask what happens when evidence and belief collide. The book stages this debate both in the wilderness and among his professional peers, without handing out an easy answer about what is real.
The Wendigo, a being that grows hungrier the more it consumes, becomes a lens for human appetites: ambition, possessive love, the craving for knowledge or recognition. Several characters are consumed by wanting something they cannot have, and Yancey quietly draws parallels between the monster and the people chasing it.
The emotional core is Will Henry's relationship with Warthrop, who is by turns cruel, dismissive, dependent, and fiercely protective. The book is honest about how a child can love someone who neglects him, and about how that attachment shapes who he becomes. It is often more unsettling than the monster itself.
Framed as found journals of an elderly narrator looking back, the novel uses period diction, footnote-like asides, and a melancholy retrospective tone. This gives the horror weight and the humor a dry edge, and it rewards readers who like immersive historical voice rather than brisk modern prose.
Despite being shelved with children's books, this is intensely violent and better suited to older teens and adults; parents of younger readers should preview it. The ornate, deliberately archaic style and long conversational stretches slow the pace, and some readers find the middle section in New York drags after the wilderness opening. Warthrop's harshness toward Will Henry can be wearing. The book also draws on an Indigenous legend largely through the eyes of white Victorian characters, which some readers will find thin in cultural terms.
Book details and cover from Google Books.
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