“What’s the real way to make a horror movie?” (256)
You are an actor, but you’ve never been in a movie yet. All of a sudden, your agent calls: you’ve been given the chance of a lifetime, the role you’ve been waiting for, your big break. But you have to get on a plane to the Amazon right now, leaving everything behind, no time to let anyone know what’s going on, barely even time to pack a bag. You don’t know what the role is, or even what it movie is about, but you have to decide right now.
Do you go? Could you leave everything behind? Or would you wait for something with less unknowns?
We Eat Our Own is a literary psychological horror novel that also delves into political turmoil as well incorporating interesting film history throughout.
The main plot is that famed Italian horror director Ugo Velluto is filming a new experimental documentary-style film deep in the Amazon in the 1970s. Think The Blair Witch Project, but this is about 30 years before that movie was made. His American actor for the leading role of Richard, is cast late due to another actor dropping out.
The actor (only called “Richard” by the book) flies to South America, but nothing seems to be quite right—the director doesn’t really care that he is there, no one will give him a script, he can’t call home or potentially even leave, they are doing dangerous stunts that are nothing like movies in America... What is going on?
At the same time, the area of South America they are in is in dangerous political turmoil due to guerillas, drug traffickers, and even a mysterious American who runs the hotel they are all staying at. If the film doesn’t kill him, Colombia might.
Each chapter is told by a different character, some characters repeating frequently, some only being used once or twice. The book borders on experimental at times, with main actor Richard’s sections being told in second person—like my opening paragraph—which is very unusual for novels.
Even from the start, there is a sinister tone to Richard’s sections; there is always some sort of reference like: “Here’s what you don’t know…” which makes the reader uncomfortably omniscient, with this growing sense of dread that something terrible is coming, something horrible is going to happen to Richard.
The other chapters are not in second person, but they use other alienating features, like the lack of quotes around dialogue, which can make the reader lose track of who is speaking as the dialogue runs together a bit.
Interspersed throughout the main plot of the movie set, and a side plot of a few young political guerillas (that comes into play later, you’ll see!), there are transcripts from a trial that make the reader aware that everything we are experiencing in the Amazon has already happened, and Ugo is on trial for something, though we aren’t sure what.
Being a horror movie buff, what really drew me to this book in the first place was the idea that it was inspired by the cult exploitation film, Cannibal Holocaust, along with the Italian giallo tradition, a type of horror movie with crime elements, often featuring a slasher, most prevalent throughout the 70s.
I really enjoyed the chapters from the point of view of the special effects team, a husband and wife who have worked with Ugo on many of his previous films. It’s obvious that Wilson did a lot of research about special effects in horror movies to write these scenes.
There is great detail about how bodies and body parts are created out of gelatin molds and sometimes (when you are in the jungle with no resources) even butchered animals to create horror effects. I loved every second of it.
It’s a mix of schlocky horror like Cannibal Holocaust, with literary horror like Heart of Darkness, and documentary horror like The Blair Witch Project. An ambitious and experimental novel that is deeply unsettling and written to great effect.
Get your copy of We Eat Our Own
Find out more about the author, Kea Wilson
Find out more about the publisher, Scribner (Simon & Schuster)
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Assistant editor, amateur photdographer, bibliophile, and occasional sleuth.