Three unsettling stories of age and the uncanny.

Our title story, “Werewolf at Dusk,” is at times sad, and also a bit disgusting. The reminiscences of an elderly werewolf have all the same feel as those of a debilitated sexual predator. There is no joy in inherent wildness, but instead just in causing pain.

“A Walk in the Old City” has a definite feel of eldritch tales. A victim who slowly comes aware of danger, a madman with mysterious power, and a setting that rests deep in the uncanny.

It’s actually been a little bit since I read this collection, and I had forgotten what the final story, “The Tiger in Vogue,” was about. Until I borrowed the book from Libby, scrolled through, and was IMMEDIATELY hit with the memory. Oof. OOF. Set in 1920s Germany, this allegory for the rise of Naziism is unsettling on multiple fronts.

This is my first David Small book, so I’m not sure who it stacks against his other offerings. However, for a quick evening spook, this is a good pick. Definitely worth perusing from your local library, though I’m afraid it won’t end up on my physical shelves.

Three quickly-absorbed short stories in graphic novel form. The first is a howl of complaint, and no mistake – it features an old man who, even when transformed into a werewolf as he has done since a child, is destined to failure now. "A small child, barely a snack…" helps the human form across the road, while his alternative self looks all the weaker for "mangey gray fur on wrinkled skin that clings to my skeleton like a dirty towel". Written with expert concision, its art here is not at all inferior, with its blue-, grey- and terracotta-only palette proving quite distinctive.

With even fewer colours we next see a therapist, an aged man who likes getting lost in a strange city – but nowhere near as lost as he ends up here. Again it's almost boldly short, being something one can scan in well under ten minutes, but not at all weak for all that – the nature of it leaves it very much open to interpretation, and indeed some of its running time is given over to demanding we realise that.

The third piece is the longest, packing some remarkable beats into its duration. This is an adaptation of a piece written immediately post-WW2, by someone called Jean Ferry, or so the introduction tells us. A man likes all the diversions the 1920s music hall can provide – but for one, where a woman brings a tiger dressed as a dandy on stage with her, and proceeds to ape the paying clientele. They are happy to literally give their firstborn away – but when we see the nature of the real puppeteer behind the act, we see the tide turn, and it's our man who is to blame – he is the only one in the theatre to see how pernicious this charade is, but does nothing. He knows it's evil with the glamour of spotlights, threat that can be drowned out by the orchestra, something lethal that can be swapped out by some unicyclists if the need arises – but if he knows this and stays silent, isn't he complicit?

This is an outstanding collection. The three tales are, yes, linked by a certain male senescence, but are utterly different. The art is free and easy, but very crafty with its stinting on colour. And as I say less is certainly more with the amount of text here – a lot of the first story, and much of the others, is our creator just illustrating the briefest of sentences, and nothing like turning it into a full graphic novel. In mood and poise – and in dramatic full-spread image – I saw some of the late Will Eisner on these pages, but it's not needed to compare this to anyone else. Compare it to perfection and you're damned near there.

The art was alright, the stories didn't work for me. They all felt incomplete and lacking in something.

Small illustrates three tales of dissatisfaction, and the travails of growing old.

An aging werewolf contemplates his sorrowful current existence in comparison with his younger, more "bitey" days, an older man's daily constitutional turns into a horror story, and another elderly gent's evening at the theatre is ruined by a performance that is too reflective of current events.

Small's artwork is flawless, and the disturbing source material provides food for thought, and fuel for nightmares.

***I thank NetGalley and the publisher for providing me with an advanced reader copy of this book in return for an honest review***

Hauntingly evocative, David Small adapts the stories intricately into his simple yet unsettling artwork in <i>Werewolf at Dusk.</i> I absolutely loved the dark vibes which were captured brilliantly. My favourite one would be the second, <i> A Walk in the Old City.</i> I love slice-of-life tales that turn out to be creepy and horrifying <3

<b><i> “During this farce, my heart beats excruciatingly under my ribs, for I alone see, I alone know that this tasteless spectacle is made possible by a miracle of willpower... that we are all in a state of frightfully unstable equilibrium which a mere trifle could destroy.” </b></i>

⊹ . ⋆ ☽ ⋆ . ➶

While author and illustrator David Small made his name working in children’s literature, his latest effort is a graphic novel squarely aimed at adults. In it, he envisions three thematically connected short stories that deal with aging and inner turmoil via fantastic events. Employing simplistic but evocative artwork, Small creates an effectively haunting atmosphere throughout, filling several panels with dread about what lies on the pages ahead.

First up is the title tale, an adaptation of Lincoln Michel’s short story of the same name which follows an elderly man who just so happens to be a werewolf. Exploring the toll that time exacts on us through such an unusual allegory proves surprisingly effective and moving. Next up is “A Walk in the Old City”, an original work for this book, which follows a therapist who is questioning his own life as he roams the streets at night, leading to an unusual encounter with a mysterious man who keeps giant spiders as pets (or does he?).

Finally, he adapts the 1947 short “Le Tigre Mondain” by Jean Ferry. While it maintains the surreal uneasiness of the first two stories, this one has less of a focus on internal dramas and instead points a finger at society’s willingness to abide the horrific. The narrator makes his way to a cabaret performance and is disappointed to learn that it will feature his least favorite act, in which a woman accompanies a tiger dressed in human clothes through a simulated night on the town, all while it is being just-barely controlled by its true trainer off-stage, a man who is drawn as Adolf Hitler. It can come off as a little too on-the-nose, but it’s a message that certainly bears repeating.

This is a short book and easy to get through in a single sitting, but also one that readers may want to revisit if even just to spend time appreciating Small’s drawings. Horror themes feature heavily throughout, but the intention isn’t to induce nightmares, rather it is to ponder some of the less desirable aspects of our very humanity; the cost of time on our already fragile bodies, our limited capacity to understand ourselves, and the ease in which a society can turn a blind eye to impending tragedy. Despite the heavy themes and somber atmosphere Werewolf at Dusk is still an enjoyable read, though one that leaves a lot to ponder.

These stories left a deep cut in me,

The author reimagines and illustrates tales that stuck with him. Each one made me feel something so intensely, sadness, repulsion, and dread. It awoken more introspection about the human condition and our blind spots, our eagerness to corrupt,

Genuinely recommend this collection if you want to experience brilliantly chilling reflections of humanity.

I think this is the best of David Small. The artwork was amazing, as always. The stories were small but packed a lot of creepy amazing storytelling within. I enjoyed this collection so much.

A big thank you to NetGalley and W. W. Norton & Company for an ARC of this book in exchange for an honest review.

The publishing trend of adult picture books appears to be on the rise and Werewolf at Dusk makes an excellent case for why it should continue. The stories contained here, all dealing with some sort of internal dread, are emotionally impactful and filled with illustrations that linger in the mind. Many of the locations, especially in the second story, give off a haunted quality with their deep colors and surreal imagery. Each of the stories feel particularly dreamlike, easily veering off into nightmare territory at certain points.

Fear seems to be a large thread that connects the stories, whether that be the fear of a weakening body, of losing a sense of reality, or starting to see the dark paths a society is about tread down. Though uncomfortable at times, the depiction of these fears lead to a connection through the parts of the human experience we all must eventually face. They feel like imparted wisdoms or cautionary tales from those who have lived enough life to know them well.

*reviewed from uncorrected eARC via netgalley**

3 short stories linked "by the dread of things internal," masterfully told in graphic format from award-winning author/illustrator David Small. An aging werewolf; a weary psychologist finding himself in a strange dream with giant spiders; a man in 1920s Berlin does not enjoy a theater act in which an actual tiger performs under the precariously dangerous control of Hitler.

Unsurprisingly, the artwork is terrific and the stories compellingly told.

A collection of short stories from acclaimed illustrator and graphic novelist David Small. The central story “A Walk in the Old City” is one of Small’s own, the other two are adaptations: one of contemporary writer Lincoln Michel’s “The Werewolf at Dusk”; the other Jean Ferry’s classic, weird tale “The Tiger in Vogue”. What connects all three are Small’s interest in their shared themes of aging, alienation and dread.

Michel’s flash fiction piece “The Werewolf at Dusk” works surprisingly well presented in a primarily visual form. Michel’s allegorical, tragicomic fantasy is centred on a werewolf who’s nearing the end of his life. Small’s poignant images, and creative colour palette, skilfully communicate the possible impact of loss of power, growing social invisibility, and fear of mortality that lies at its heart, as the werewolf finds himself barely able to chase a squirrel let alone chase down larger prey.

Small’s “A Walk in the Old City” is a hauntingly-surreal account of a disillusioned therapist walking the streets in the dead of night who is drawn into an unexpectedly horrifying, uncanny encounter which challenges his very sense of self.

Author and screenwriter Jean Ferry’s “Le Tigre Mondain” was first published in 1947, a favourite of horror writer Thomas Ligotti and heralded by Andre Breton as “the most sensationally new poetical text I have read in a long time.” The original is an unsettling slice-of-life narrative that reads like prose poetry, in which a man makes a visit to a music hall where he’s confronted by an act he loathes. The act featuring a tiger in human garb and their trainer conjures images of looming social collapse and the violence simmering beneath the surface of everyday reality. Ferry changed his name from Levy during WW2 and spent years dodging the Nazis, so Small’s decision to set Ferry’s story in a cabaret hall in 1920s Germany doesn’t feel too far away from the author’s vision. Small’s version draws on visual references to artists of the time notably George Grosz, but his interpretation of the shadowy man who hovers behind the scenes of the tiger act as Hitler felt a little too literal. Part of the force of Ferry’s piece resides in its elliptical, shadowy quality. But, despite some reservations, there was a lot I really liked about this, particularly Small’s attentive approach and the inventive visual imagery of his artwork.

A collection of three stories, two of which are adapted from other authors. The title story is about a werewolf that has grown old, both in his human and werewolf form and is no longer as dangerous as he used to be. Then there's a surreal story about a man lost in an old city. The last story is about a tiger performing on a stage in a three-piece suit in the 1920's that is an obvious allegory to what happened in Germany between WWI and WWII.

Werewolf at Dusk is a collection of three stories that range in topic from aging to existential crises, to the nature of violence. David Small's illustrations add a haunting, melancholy tone to the stories themselves. Werewolf at Dusk is both chilling and beautiful in its depictions of the body ravaged by time. The Tiger In Vogue is, for me, the standout of the piece. Small manages to convey a sense of dread and impending doom while using such restraint. No lines are wasted on the page and yet the illustrations are incredibly powerful.

I thought this book as a whole was very mediocre. The first story I found to be a bit repetitive at the beginning just stating different places he wakes up but then started to pick up a bit then ends abruptly. I would’ve liked to see where the story would’ve gone if not for the abrupt ending. The second story I did not like at all unfortunately. I acknowledge that some if not most of it is meant in a metaphorical sense but I just didn’t really connect with the concept and therefore didn’t mind when it ended. Finally, the third and final story of this collection I thought was absolutely amazing. I didn’t know if the ‘reveal’ if you would even call it that was meant to be a surprise but I didn’t think it would go there. If this book was a full length version of this story I would’ve given it five stars but the pacing, concept, and execution of the other two stories really brought down my image of it.

My thanks to both NetGalley and the publisher W. W. Norton & Company for an advanced copy of this graphic novel collection by an illustrator who has been touching people with his art for many years.

As one gets older we look back at certain events with a sense of wonder. At one point one could do things that today leave one winded. Or sad, or filled with the knowledge that things are changing and not for the best. One even thinks of being forgotten, not for what we were, but for what we became. Not many people like to think in these terms, so this is not something that is talked about much, or shared. David Small is a creator who is not afraid of detailing both human frailties, not human follies. Creator of the revelatory Stitches, Werewolf at Dusk: And Other Stories is a collection of three stories, dealing with aging and fading, the human mind and its challengers, and the human capacity to not see calamity as it comes close enough to bite.

Two of the stories are adaptations. The first is Werewolf at Dusk, by Lincoln Michel, a story about an aging werewolf looking back at his life. From his first being bit, to his hunting prey for years, the werewolf now finds himself not able to hunt mice. Needing a cane, and a trip to the pharmacy to recover from nights out, usually spent wandering without purpose or drive. A Walk in the Old City is an adaptation of a dream the author had. The protagonist is a wanderer in the old city who has become lost. A fellow traveller finds him and leads him to safety, but this haven is just as dangerous as the dangers outside. The final story is again an adaptation this one Jean Ferry's The Tiger in Vogue, about a man in Berlin between the wars just wanting a night of entertainment away from the troubles going on, and instead being stuck in a show with a tiger dressed as a man, doing tricks and dealing with babies, that one day the narrator is sure will not end well.

David Small is avery gifted man, with a skill in both adapting others and his own works in a unique style that is his own, and yet no losing the message, or meaning. I feel I enjoyed the second piece as it was based on his dream, and was the most personal. A story that seems both spooky and melancholic. Werewolf at Dusk though hit me just right as I have just spent time with my nephews, and found myself exhausted trying to keep up with them, and envious of their energy and resilience. Small in the first tale showed me that yes this happens, it is natural, and while one can rage, in the end it doesn't change who you are, only maybe what one can do. The last tale with the Tiger and Hitler, fit well for our current state of affairs. While it might be cute watching a tiger act human, when it rips your face off, it is not the tiger's fault, it is yours for allowing the tiger to get that close. A story that has many truths built into it.

Recommended for adults who enjoy graphic novels, or adults who miss picture books. In many ways this is the perfect picture book for adults, with wonderful clear art on each page, and telling a story that is honest, true, and spooky. A great read, and one that many will come back to.

Thank you to NetGalley for the ARC.

The graphic novel features three stories - all beautifully drawn and captivating.

I will comment on the first, and titular, story. Werewolf at Dusk deals with ageing. It is a short commentary of feeling feeble, weak and like your prime has passed - and dealing with those feelings. The main character, a werewolf, who in his youth revelled in his supernatural prowess, agility strength, his power, is now reduced to an ageing beast, unable to hunt for himself.

Similar in theme to the Old Man and the Sea.

I saw in another review this described as an ‘adult picture book’ & I think that fits perfectly! The art is beautiful, simple & expressive, and though the stories are short they convey a lot of emotion. I really enjoyed their open endings. They feel like little glimpses into a bigger picture.

The first story, The Werewolf at Dusk, is the one I loved the most. I easily give it 5 stars. It’s my favourite kind of melancholy story, mundane yet supernatural.
I also enjoyed the second story, ‘A Walk in the Old City’ a lot. The third & final story, ‘The Tiger in Vogue’ I found a little confusing (could just be me missing the analogy’. I think the sentiment of seeing terrible things but walking past them and doing nothing is an important one, but the rest of the story falls a little flat to me.

Overall though, a lovely & short collection of stories with expressive artwork & an important theme running throughout :)

David Small is best known perhaps for Stitches; in this book, The Werewolf at Dusk, he shares three short comics stories about aging, two of which are adapted from other authors, linked as Small says, by “the dread of things internal.” The title story, by Lincoln Michel, is about a werewolf that has grown old. In other words, the old man has something bestial in his nature, though now somewhat in decline. “Once I was a monster. Now I’m more like a waif in a wolf.” This one I like least, maybe, because its the slightest, but it’s still provocative (think about connection to Hesse's Steppenwolf).

The second story, “A Walk in the City,” was written by Small and he says it is semi-autobiographical. It may be my favorite. Based in part on a dream/nightmare he had decades ago about aging, the now fictional story explores aging from the perspective of an aging Small, now in his late seventies. The old man is a psychotherapist, sort of lost in a city, encountering giant spiders--the threat of death, decline? He’s on the precipice of a narrow walkway above a river far below; he gets vertigo, fear of falling. He knows he’s dreaming, a dream within a dream, or is the blind man he encounters--the only person he meets--dreaming him? I suppose to call a dream surreal is sort of redundant, but that’s the effect. Eerie.

Reminders to self”: View again Bergman’s Wild Strawberries, that opens with an old man’s dream/nightmare, and think, too, about Daphne du Maurier’s short story, “Don’t Look Back,” which also features a man in a similar environment--Venice?--lost, afraid, facing oblivion.

The last story, “The Tiger in Vogue,” by Jean Ferry, is a surrealist tale about a(n old) man who goes to a musical performance in 1930’s Germany. One part of the performance features a tiger in a suit that is an allegory to the dangers of the rise of Hitler and Nazi Germany. The old man fearfully--and he feels like he is alone in feeling this--sees the decline of his country, and the world, sliding into fascism. Simple, but also provocative. I liked this quite a bit, maybe in part because I am now an older man, but I like Smal’ls minimalist style throughout.

Thanks to W. W. Norton & Co., Net Galley and the author for an early look at this book.

Short stories again are my jam! I really enjoyed the vibe of this book with all the different stories. Some of these gripped me from the get go!

What did I just read? I don’t even know. All I know is that they were 3 very strange and inconclusive stories. None of them had a proper ending. The second one was the best one, but still, what did I just read?