Curse of the Wolf Girl »

Kallix, a morose, laudanum-addicted, unschooled, slightly anorexic werewolf is still on the run. The youngest daughter of the Thane of the MacRinnalch Clan of werewolves, held responsible unfairly for the death of the Thane, and justifiably responsible for the deaths of a great many other werewolves, remains prohibited from returning to Scotland in order to maintain the uneasy peace that temporarily prevails in court, despite the endemic debauchery and degeneracy always threatening to again spiral out of control. Frankly, things aren’t much better for her in London than in Scotland. The love of her life is in hiding and her enemies increase in number by the day. Strong as she is when enraged, it’s becoming ever more dangerous to be her. Daniel and Moonglow, her two human friends, do what they can to keep her hidden in plain sight (who would look for a werewolf in a remedial program for high school dropouts?) and keep her fed. Millar is a true world-creator, populating Curse of the Wolf Girl with a universe of characters: fashion-designing werewolves, cross-dressing werewolves, and neurotic, psychotic, and erotic werewolves, as well as fairies, Fire Elementals, and good ole humans — whipping them in faster and faster revolutions with his thrilling, vertiginous rollercoaster narrative.

Publishers Weekly

Kalix the emo berserker werewolf makes a moody return in Millar's witty, chaotic sequel to 2008's Lonely Werewolf Girl. Offered an allowance by her mother if she does well at remedial college, Kalix is soon distracted by the murder of her former lover. She's determined to get to the bottom of the murder but soon discovers that, in addition to being a laudanum-addicted, anorexic cutter, she's much better at mass slaughter than investigating. Only after a series of seemingly unrelated subplots come together does she stand a chance at vengeance. Millar introduces a cast of thousands, including fashion-obsessed fire elemental royalty, a werewolf sorceress, and would-be werewolf rock stars, deftly weaving together a myriad of subplots as the narrative hurtles toward the conclusion. The dialog reads like a good British sitcom, and if the characters are somewhat shallow, it has the odd effect of making their personal revelations more poignant by the end.