An atmospheric gone girl mystery with a fantastical, grisly twist
As a band of four, Aislin, Breena, Vivien, and Poppy have haunted their cultish town of Devil’s Pointe, bound together by their traumatic, off-kilter upbringings.
Driven to flee from its puritanical populace, the girls spend weeks planning their escape to the woods, only to be found three months later, depleted, disoriented, and missing a core member. When Aislin, Breena, and Vivien come to without any answers, rumors spark, all pointing to the three treasonous members left.
“What do you want to know?” Aislin asked. There was so much Aislin could say, even more that she wouldn’t.”
The trio continues to honor Poppy’s memory, returning annually to her family’s cabin in the same harrowing woods, on the day of their failed getaway. As another anniversary approaches, their mournful group unexpectedly reverts to a collective of four. Vivien invites Jamie, an NYU graduate and rising indie filmmaker, to join them as the subjects of his next documentary.
Aislin and Breena reluctantly agree, reopening the cabin and their own wounds to welcome another occupant. Though his presence is unsettling, the three of them are well-versed in the internet speculation and cruel conspiracies around Poppy’s death. Prepared for his line of questioning, the girls are caught off guard when Jamie’s interest extends far beyond Poppy. The stranger in their cabin has his own theories, uncomfortably closer to the truth than any of them would like. As Aislin, Breena, and Vivien divulge their sides, Jamie slowly unravels the truth about their cursed town and its role in tearing the girls apart.
“None of them knew how to love gently, softly. They loved with teeth and fists and knives. They loved with pain and bruises and cuts that ran so deep they couldn’t be stitched back together.”
What We Consume is an ambitious non-linear story, carefully juggling three alternating perspectives, a sequence of flashbacks, and oral testimonials within the limited margins of a novella. Despite these delicate components, it melds together seamlessly. Its narrative structure keeps the story active and alive, smoothly switching lenses without disrupting reader immersion. The novella’s central plot is straightforward and focused, an exciting blend of magical realism and suspense as Aislin, Breena, and Vivien attempt to uncover the truth behind their dear friend’s disappearance.
Embedded within the plot is Jamie’s documentary, justifying his presence in the story. What We Consume, however, reveals very little through this powerful storytelling device. The novella relies largely on flashbacks to flesh out its characters and story. While this balancing act can be impressive, it does take its foot off the gas of the developing mystery. What We Consume confirms exactly how each character thinks and feels, using flashbacks to show and interior monologues to tell, diminishing some of the intrigue of reading between the lines.
“We felt hunted, ostracized, cast out into exile—such a common fairy tale trope that we couldn’t help but see ourselves in them. We were determined to make it through, just like every heroine in every book we read.”
While the girls are regarded as a singular unit by Jamie, their town, and the true crime fanatics following Poppy’s case, Aislin, Breena, and Vivien’s individual chapters remind readers otherwise. Author Sarayah Danielle is particularly adept at characterization, establishing each girl’s personality, backstory, and motivations at the outset. This aids in distinguishing their voices, avoiding any fusing later on that may take away from their personal role in Poppy’s disappearance.
What We Consume is a great gateway into horror—a twisted retelling of classic fable storytelling. It is the best of both worlds, juxtaposing the innocence of fairy tales with a heavier take on conformity, assimilation, and human nature. Gloriously visceral, the novella fully embraces its genre, devising a story that is just as consumable as its title promises.
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