Review of The Sorrows of Young Werner by Andrew Barger

 

Johann Goethe

(1749-1832)

Review of the Sorrows of Young Werther

by

Andrew Barger

Background
The literary impact of Johann Goethe's 1774 novel The Sorrows of Young Werther cannot be underestimated. It is widely considered as the second Gothic novel published in the English language. This was a decade after the first: Horace Walpole's The Castle of Ortranto. The Old English Barron followed in 1778 and The Mysteries of Udolpho in 1794. In 1796 The Monk was published to controversy and acclaim. It centers around a priest gone astray and a witch named Matilda. Mary Shelley's Frankenstein was published in 1818. There, the unloved monster finds a worn copy of The Sorrows of Young Werther and likens himself to the protagonist. What goes around, comes around in Goth!

The Sorrows of Young Werther was impactful in ushering in the romantic age of literature--though Goethe nearly killed it off before it began. The novel was the foundation on which the German Sturm und Dang (storm and urge) literary style was launched, sporting reckless characters tossed about the seas of love.  

Comments
Poor, poor young Werther and his sorrows inflicted by a love interest who has a modicum of interest in him. Charlotte wants to be more friends than lovers. (Guys: Have you experienced that one before?) She is, after all, betrothed, and then married, to a plucky, self-absorbed man named Albert who can hardly be bothered with the young man named Werther who keeps hanging around the house.

In sharp contrast to his personality, Werther dresses like a bright canary (that alights on Charlotte's shoulder in the novel) in his blue suit jacket and yellow vest. He was Oscar Wilde a 100 years prior. His foppish outfit went so far as to launch a fashion style during the late eighteenth century and the first rash of ancillary marketing ever experienced by a novel.













Think Eau de Werther cologne and China teapots on which portraits of the fictional Werther were hand painted as shown here in the Victoria and Albert Museum. The teapot was made in 1789. This is two years after the revised edition of The Sorrows of Young Werther was printed. The literary fever of the novel was still burning 15 years later. In Germany, where it was originally published, some 20 editions were already in print. Plays, operas, and satirical works soon followed; and copycat suicides that got the book banned in some German villages. The term "furor Wertherinus" was coined to reflect the suicidal passions of young men and woman scorned.






Parallels to Life
Like Dracula, most of the novel is written in epistolary form. Craftily, Goethe only lets readers see the letters of Werther, not those of Wilhelm to whom he is writing. The Sorrows of Young Werther oozes in parallels to Goethe's own life. The novel is set in the fictional village of Walheim where "the reader need not take the trouble too look for the place...." But finding the real village was easy to do since, at the age of 19, Goethe met Charlotte Buff at a small dance in the German village of Whitsuntide in Wetzlar. (Stop it with the W names, Goethe!). He fell in love with her that evening but, just like in the novel, Charlotte was engaged to another.

The Forbidden Act
Two years prior to its publication, his friend Karl Wilhelm Jerusalem, committed suicide after falling in love with a married woman and "[in] that moment the plan of Werther was found...." The Sorrows of Young Werther was blamed for a number of suicides. Consider this magazine excerpt from the early nineteenth century (Eight Historical Dissertations on Suicide, pg 117, 1859):

Let us, by way of specifying only a very few well-authenticated prominent instances, think of Captain Arenswald who shot himself Sept. 19, 1781, and had been fond of reading this Novel during the latter part of his life; 1) of Miss von Lassberg, one of Goethe's friends at the court of Weimar, who was found Jan. 17, 1778 drowned in the lime, with a copy of Werther's Leiden in her pocket; 2) of Gunderode who stabbed herself at Winkel on the Rhine from an unhappy attachment to an already married Heidelberg Professor, the learned and amiable Creuzer, and who used to read Werther together with her friend, the well-known Bettina von Arnim, and speak much about suicide. 3) — Aye, Mme. de Stael was not far wrong, when she asserted that it had "caused more suicides than the most beautiful woman," 4) nor does Goethe himself (in his Autobiography) deny that this aesthetical masterpiece of his proved a daemoniac charm which wrought deadly ruin unto many. Therefore, we cannot but pronounce it, in a moral point of view, a great error; for no book can be veritably of good which proves a sort of impulse and guide for the many unto self-destruction; — and what we may justly complain of is this: that Goethe, as far as we can learn, never regretted this its influence, never penned aught to counteract it, never, if I may here employ serious language, like a man and a Christian repented of it!

IIL Ugo Fosoolo's le ultime lettere di Jacopo Orjtis (1802).

It was Goethe himself who stated: "Suicide is an event of human nature which, whatever may be said and done with respect to it, demands the sympathy of every man, and in every epoch must be discussed anew." My Life: Poetry and Truth

Rating & Recommendation
I recommend The Sorrows of Young Werner because of its high impact on literature. It was wholly cathartic for Goethe to write and left him feeling like he had made “a general confession, again happy and free and justified for a new life.”

I end this review with sage words of advice for our poor foppish Werther. Man-up, young Werther! Man-up. If the woman fails to reciprocate your love, forget her and move on as quickly as possible and you are sure to find your true love at another time.

https://andrewbarger.com/index.html


#ReviewSorrowsofYoungWerther #WertherLiteraryImpact #goethereview #sorrowsofyoungwerther #sorrowsofwerther #earlygothnovels #andrewbargerreviews #goethe #johangoethe #earlygothicnovels

Book Trailer for Witchcraft Classics: Best Witch Short Stories 1800-1849

 

Witchcraft Classics: Best Witch Short Stories 1800-1849

My latest anthology is now live and available for download or purchase.

Book

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E-Book

 Apple Books Kindle  Kobo Google Books  Nook

#BestWitchStories #ClassicWitchStories #BestWitchShortStories #ClassicWitchShortStories #WitchBook #NewWitchBook #WitchAnthology #WitchCollection #GreatestWitchStories #GreatestWitchShortStories #WitchcraftStories

The Spadena House, or The Witch's House, of Beverly Hills

 

Spadena House - Beverly Hills, California

The Spadena House, commonly referred to as The Witch's House, is a whimsical house in Beverly Hills, California. The house was built in 1921 by Hollywood art director Harry Oliver, who designed it to look like a cottage straight out of a fairy tale. It certainly looks like a house filled with scary witch stories. The house was originally built on a movie studio lot in Culver City, but it was later moved to its current location in Beverly Hills.

The house is known for its distinctive, storybook-style architecture, which features a steeply-pitched roof with crooked chimneys, a lopsided chimney, and a tiny, arched front door. The exterior of the house is made of stucco, which has been painted to look like dark wood, and it is surrounded by a whimsical garden featuring stone toadstools, a fake moat, and a collection of gnarled trees.

Over the years, the Spadena House has gained a reputation as one of the most famous and recognizable landmarks in Beverly Hills. In the 1960s, it was briefly used as a set for the television show "Bewitched" which helped to solidify its status as a cultural icon. Is there witchcraft going on inside?

Today, the Spadena House is privately owned and is not open to the public. However, it remains a popular tourist attraction, and visitors can often be seen taking pictures of the house and its unique features.

#witchhouse #beverlyhillswitchhouse #witchstories #wherewitchesdwell

Story Reveal for Witchcraft Classics: Best Witch Short Stories 1800-1849 Anthology

 

                    Witchcraft Classics: Best Witch Short Stories 1800-1849

My latest anthology is now live and available for download or purchase.

Book

amazon.com Barnes & Noble Walmart

E-Book

 Apple Books Kindle  Kobo Google Books  Nook

Stories Revealed!

These are the great witch stories I picked for the anthology.

*The Hollow of the Three Hills (1830) by Nathaniel Hawthorne

*The Marvelous Legend of Tom Connor’s Cat (1847) by Samuel Lover

*The Witch Caprusche (1845) by Elizabeth Ellet

*The Brownie of the Black Haggs (1827) by James Hogg

*Lydia Ashbaugh, the Witch (1836) by William Darby

*Young Goodman Brown (1835) by Nathaniel Hawthorne

*Viy (1835) by Nikolai Gogol

Buy: Witchcraft Classics: Best Witch Short Stories 1800-1849 today!

#BestWitchStories #ClassicWitchStories #BestWitchShortStories #ClassicWitchShortStories #WitchBook #NewWitchBook #WitchAnthology #WitchCollection #GreatestWitchStories #GreatestWitchShortStories #WitchcraftStories

Andrew Barger, “Frances Osgood’s Connections to Edgar Allan Poe’s Couplet and the Stuart Manuscript of ‘Eulalie,’” Poe Studies

 

My most recent Poe article was published by Johns Hopkins Press. You can check it out here: Andrew Barger, “Frances Osgood’s Connections to Edgar Allan Poe’s Couplet and the Stuart Manuscript of ‘Eulalie,’” Poe Studies, 55 (2022): 109-25 

What's it about? General notions regarding Edgar Allan Poe and Frances Sargent Osgood are that an intertextual relationship between the poets lasted approximately one year before the infamous letter scandal broke them apart. Antithetical to these notions, it now appears that Osgood attempted to renew her relationship with Poe in summer of 1847 by publishing a pseudonymous effusion to him. "To — — —," provocatively signed "Anna F. Allan," calls out to Poe to strike his "wild lyre once more" for her. Given no apparent response, the following month another uncharacteristic Osgood poem, titled "Zarifa," was published. From this poem, Poe appears to have adapted a line for an unpublished couplet written on the back of the Stuart manuscript of "Eulalie." "Zarifa" demonstrates the manuscript was in Poe's possession at the time of the poem's publication, and it gives—with some confidence—an earliest date for Poe's couplet.

#ScholarlyPoeArticle #PoeArticle #PoeFrancesOsgood #FrancesOsgood #ZarifaPoem #JohnsHopkinsPress #EulalieArticle

Edgar Allan Poe Short Biography

 

Edgar Allan Poe: An Appreciation

by

William Heath Robinson

Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore–
Till the dirges of his Hope that melancholy burden bore
       Of “never–never more!”

This stanza from “The Raven” was recommended by James Russell Lowell as an inscription upon the Baltimore monument which marks the resting place of Edgar Allan Poe, the most interesting and original figure in American letters. And, to signify that peculiar musical quality of Poe’s genius which inthralls every reader, Mr. Lowell suggested this additional verse, from the “Haunted Palace”:

And all with pearl and ruby glowing
   Was the fair palace door,
Through which came flowing, flowing, flowing,
   And sparkling ever more,
A troop of Echoes, whose sweet duty
   Was but to sing,
In voices of surpassing beauty,
   The wit and wisdom of their king.

Born in poverty at Boston, January 19 1809, dying under painful circumstances at Baltimore, October 7, 1849, his whole literary career of scarcely fifteen years a pitiful struggle for mere subsistence, his memory malignantly misrepresented by his earliest biographer, Griswold, how completely has truth at last routed falsehood and how magnificently has Poe come into his own, For “The Raven,” first published in 1845, and, within a few months, read, recited and parodied wherever the English language was spoken, the half-starved poet received $10! Less than a year later his brother poet, N. P. Willis, issued this touching appeal to the admirers of genius on behalf of the neglected author, his dying wife and her devoted mother, then living under very straitened circumstances in a little cottage at Fordham, N. Y.:

“Here is one of the finest scholars, one of the most original men of genius, and one of the most industrious of the literary profession of our country, whose temporary suspension of labor, from bodily illness, drops him immediately to a level with the common objects of public charity. There is no intermediate stopping-place, no respectful shelter, where, with the delicacy due to genius and culture, he might secure aid, till, with returning health, he would resume his labors, and his unmortified sense of independence.”

And this was the tribute paid by the American public to the master who had given to it such tales of conjuring charm, of witchery and mystery as “The Fall of the House of Usher” and “Ligeia”; such fascinating hoaxes as “The Unparalleled Adventure of Hans Pfaall,” “MS. Found in a Bottle,” “A Descent Into a Maelstrom” and “The Balloon Hoax”; such tales of conscience as “William Wilson,” “The Black Cat” and “The Tell-tale Heart,” wherein the retributions of remorse are portrayed with an awful fidelity; such tales of natural beauty as “The Island of the Fay” and “The Domain of Arnheim”; such marvellous studies in ratiocination as the “Gold-bug,” “The Murders in the Rue Morgue,” “The Purloined Letter” and “The Mystery of Marie Roget,” the latter, a recital of fact, demonstrating the author’s wonderful capability of correctly analyzing the mysteries of the human mind; such tales of illusion and banter as “The Premature Burial” and “The System of Dr. Tarr and Professor Fether”; such bits of extravaganza as “The Devil in the Belfry” and “The Angel of the Odd”; such tales of adventure as “The Narrative of Arthur Gordon Pym”; such papers of keen criticism and review as won for Poe the enthusiastic admiration of Charles Dickens, although they made him many enemies among the over-puffed minor American writers so mercilessly exposed by him; such poems of beauty and melody as “The Bells,” “The Haunted Palace,” “Tamerlane,” “The City in the Sea” and “The Raven.” What delight for the jaded senses of the reader is this enchanted domain of wonder-pieces! What an atmosphere of beauty, music, color! What resources of imagination, construction, analysis and absolute art! One might almost sympathize with Sarah Helen Whitman, who, confessing to a half faith in the old superstition of the significance of anagrams, found, in the transposed letters of Edgar Poe’s name, the words “a God-peer.” His mind, she says, was indeed a “Haunted Palace,” echoing to the footfalls of angels and demons.

“No man,” Poe himself wrote, “has recorded, no man has dared to record, the wonders of his inner life.”

In these twentieth century days-of lavish recognition-artistic, popular and material-of genius, what rewards might not a Poe claim!

Edgar’s father, a son of General David Poe, the American revolutionary patriot and friend of Lafayette, had married Mrs. Hopkins, an English actress, and, the match meeting with parental disapproval, had himself taken to the stage as a profession. Notwithstanding Mrs. Poe’s beauty and talent the young couple had a sorry struggle for existence. When Edgar, at the age of two years, was orphaned, the family was in the utmost destitution. Apparently the future poet was to be cast upon the world homeless and friendless. But fate decreed that a few glimmers of sunshine were to illumine his life, for the little fellow was adopted by John Allan, a wealthy merchant of Richmond, Va. A brother and sister, the remaining children, were cared for by others.

In his new home Edgar found all the luxury and advantages money could provide. He was petted, spoiled and shown off to strangers. In Mrs. Allan he found all the affection a childless wife could bestow. Mr. Allan took much pride in the captivating, precocious lad. At the age of five the boy recited, with fine effect, passages of English poetry to the visitors at the Allan house.

From his eighth to his thirteenth year he attended the Manor House school, at Stoke-Newington, a suburb of London. It was the Rev. Dr. Bransby, head of the school, whom Poe so quaintly portrayed in “William Wilson.” Returning to Richmond in 1820 Edgar was sent to the school of Professor Joseph H. Clarke. He proved an apt pupil. Years afterward Professor Clarke thus wrote:

“While the other boys wrote mere mechanical verses, Poe wrote genuine poetry; the boy was a born poet. As a scholar he was ambitious to excel. He was remarkable for self-respect, without haughtiness. He had a sensitive and tender heart and would do anything for a friend. His nature was entirely free from selfishness.”

At the age of seventeen Poe entered the University of Virginia at Charlottesville. He left that institution after one session. Official records prove that he was not expelled. On the contrary, he gained a creditable record as a student, although it is admitted that he contracted debts and had “an ungovernable passion for card-playing.” These debts may have led to his quarrel with Mr. Allan which eventually compelled him to make his own way in the world.

Early in 1827 Poe made his first literary venture. He induced Calvin Thomas, a poor and youthful printer, to publish a small volume of his verses under the title “Tamerlane and Other Poems.” In 1829 we find Poe in Baltimore with another manuscript volume of verses, which was soon published. Its title was “Al Aaraaf, Tamerlane and Other Poems.” Neither of these ventures seems to have attracted much attention.

Soon after Mrs. Allan’s death, which occurred in 1829, Poe, through the aid of Mr. Allan, secured admission to the United States Military Academy at West Point. Any glamour which may have attached to cadet life in Poe’s eyes was speedily lost, for discipline at West Point was never so severe nor were the accommodations ever so poor. Poe’s bent was more and more toward literature. Life at the academy daily became increasingly distasteful. Soon he began to purposely neglect his studies and to disregard his duties, his aim being to secure his dismissal from the United States service. In this he succeeded. On March 7, 1831, Poe found himself free. Mr. Allan’s second marriage had thrown the lad on his own resources. His literary career was to begin.

Poe’s first genuine victory was won in 1833, when he was the successful competitor for a prize of $100 offered by a Baltimore periodical for the best prose story. “A MSS. Found in a Bottle” was the winning tale. Poe had submitted six stories in a volume. “Our only difficulty,” says Mr. Latrobe, one of the judges, “was in selecting from the rich contents of the volume.”

During the fifteen years of his literary life Poe was connected with various newspapers and magazines in Richmond, Philadelphia and New York. He was faithful, punctual, industrious, thorough. N. P. Willis, who for some time employed Poe as critic and sub-editor on the Evening Mirror, wrote thus:

“With the highest admiration for Poe’s genius, and a willingness to let it alone for more than ordinary irregularity, we were led by common report to expect a very capricious attention to his duties, and occasionally a scene of violence and difficulty. Time went on, however, and he was invariably punctual and industrious. We saw but one presentiment of the man-a quiet, patient, industrious and most gentlemanly person.

“We heard, from one who knew him well (what should be stated in all mention of his lamentable irregularities), that with a single glass of wine his whole nature was reversed, the demon became uppermost, and, though none of the usual signs of intoxication were visible, his will was palpably insane. In this reversed character, we repeat, it was never our chance to meet him.”

On September 22, 1835, Poe married his cousin, Virginia Clemm, in Baltimore. She had barely turned thirteen years, Poe himself was but twenty-six. He then was a resident of Richmond and a regular contributor to the “Southern Literary Messenger.” It was not until a year later that the bride and her widowed mother followed him thither.

Poe’s devotion to his child-wife was one of the most beautiful features of his life. Many of his famous poetic productions were inspired by her beauty and charm. Consumption had marked her for its victim, and the constant efforts of husband and mother were to secure for her all the comfort and happiness their slender means permitted. Virginia died January 30, 1847, when but twenty-five years of age. A friend of the family pictures the death-bed scene–mother and husband trying to impart warmth to her by chafing her hands and her feet, while her pet cat was suffered to nestle upon her bosom for the sake of added warmth.

These verses from “Annabel Lee,” written by Poe in 1849, the last year of his life, tell of his sorrow at the loss of his child-wife:

I was a child and she was a child,
   In a kingdom by the sea;

But we loved with a love that was more than love—
   I and my Annabel Lee;

With a love that the winged seraphs of heaven
   Coveted her and me.
And this was the reason that, long ago;
   In this kingdom by the sea.
A wind blew out of a cloud, chilling
   My beautiful Annabel Lee;

So that her high-born kinsmen came
   And bore her away from me,
To shut her up in a sepulchre
   In this kingdom by the sea,

Poe was connected at various times and in various capacities with the Southern Literary Messenger in Richmond, Va.; Graham’s Magazine and the Gentleman’s Magazine in Philadelphia.; the Evening Mirror, the Broadway Journal, and Godey’s Lady’s Book in New York. Everywhere Poe’s life was one of unremitting toil. No tales and poems were ever produced at a greater cost of brain and spirit.

Poe’s initial salary with the Southern Literary Messenger, to which he contributed the first drafts of a number of his best-known tales, was $10 a week! Two years later his salary was but $600 a year. Even in 1844, when his literary reputation was established securely, he wrote to a friend expressing his pleasure because a magazine to which he was to contribute had agreed to pay him $20 monthly for two pages of criticism.

Those were discouraging times in American literature, but Poe never lost faith. He was finally to triumph wherever pre-eminent talents win admirers. His genius has had no better description than in this stanza from William Winter’s poem, read at the dedication exercises of the Actors’ Monument to Poe, May 4, 1885, in New York:

“He was the voice of beauty and of woe,

Passion and mystery and the dread unknown;

  Pure as the mountains of perpetual snow,

Cold as the icy winds that round them moan,

  Dark as the eaves wherein earth’s thunders groan,

Wild as the tempests of the upper sky,

  Sweet as the faint, far-off celestial tone of angel whispers, fluttering from on high,

And tender as love’s tear when youth and beauty die.”

In the two and a half score years that have elapsed since Poe’s death he has come fully into his own. For a while Griswold’s malignant misrepresentations colored the public estimate of Poe as man and as writer. But, thanks to J. H. Ingram, W. F. Gill, Eugene Didier, Sarah Helen Whitman and others these scandals have been dispelled and Poe is seen as he actually was-not as a man without failings, it is true, but as the finest and most original genius in American letters. As the years go on his fame increases. His works have been translated into many foreign languages. His is a household name in France and England-in fact, the latter nation has often uttered the reproach that Poe’s own country has been slow to appreciate him. But that reproach, if it ever was warranted, certainly is untrue.

William Heath Robinson (1872-1944), English cartoonist and illustrator, published the above short Poe biography in 1900. Below is the cover for Coffee with Poe: A Novel of Edgar Allan Poe's Life where I being Poe to life using his actual letters to his contemporaries and many loves.

#PoeBiography #LifeofPoe #CoffeewithPoe #PoesLife #AndrewBarger #EdgarAllanPoeLife

"Scared as You" by The Cure - Unofficial Lyrics by Andrew Barger

 

"Scared as You" is an instrumental by The Cure they placed on the band's Wish 30 Year Deluxe Anniversary Album. It brings to mind "Fear of Ghosts" that the band curiously scratched from Disintegration. Yet songs by the band have a way of coming back around later, as both of these have done.

Like I am doing for all the instrumentals on Wish 30 Year Deluxe Anniversary Album, here are the unofficial lyrics I penned for "Scared as You."

Scared as You

I wonder

where the sea goes in December,

when the sky turns burnt umber,

before darkness settles in,

and I am feeling those pangs

of being alone again.

I wonder

where the ghost of my ghost lives

in mansions unholy.

Knowing he still is, 

and I am fading away;

I am fading away.

Fading away.

Fading away.

Fading away.

#CureDeluxeInstrumentals #ScaredasYouTheCure #RobertSmithScaredasYou #WishAnniversaryAlbum #Wish30thAnniversary #UnofficialCureLyrics

Witchcraft Classics: Best Witch Short Stories 1800-1849 Cover Reveal by Andrew Barger

 

Witchcraft Classics: Best Witch Short Stories 1800-1849

I am (witchy) excited to reveal the cover of the latest anthology that I have edited. This time I have explored, and uncovered, classic witch stories from the first half of the nineteenth century.

In the coming days I will reveal the stories I picked for the collection. Click here to preorder this witch book that will be on sale on March 17, 2023!

#BestWitchStories #ClassicWitchStories #BestWitchShortStories #ClassicWitchShortStories #WitchBook #NewWitchBook #WitchAnthology #WitchCollection

First Werewolf Short Story by a Woman - A Story of Weir-Wolf by Catherine Crowe

Catherine Crowe

(1790-1872)

Introduction

to

A Story of a Weir-Wolf

Catherine Crowe arguably wrote the first werewolf short story by a female. It was republished in The Best Werewolf Short Stories 1800-1849: A Classic Werewolf Anthology for the first time nearly 175 years since its original publication. Crowe also wrote a few novels, with the Adventures of Susan Hopley being her most popular. Yet it is Crowe’s association with scary short stories for which she is remembered today.

Two years after “A Story of a Weir-Wolf” appeared in the May 16th, 1846 (vol. III) issue of James Hogg’s magazine Hogg’s Weekly Instructor, Crowe published a collection she titled “The Night-Side of Nature, or Ghosts and Ghost-seers.” It is a solid compilation of supernatural short stories from real life events. Unfortunately, her werewolf story that begins “on a fine bright summer’s morning” was not contained in “The Night-Side of Nature” and was apparently never re-published by Crowe after it appeared in Hogg’s Weekly Instructor. Thankfully the story will live on. Like any werewolf, it shapeshifted. Less than a decade later, the author had a terrible bought of insanity.

In 1854, at the age of 64, Crowe was found naked wandering the streets of Edinburgh. This is how Charles Dickens described the event on March 7, 1854.

“Mrs Crowe has gone stark mad–and stark naked–on the spirit-rapping imposition. She was found t’other day in the street, clothed only in her chastity, a pocket-handkerchief and a visiting card. She had been informed, it appeared, by the spirits, that if she went out in that trim she would be invisible. She is now in a mad-house and, I fear, hopelessly insane. One of the curious manifestations of her disorder is that she can bear nothing black. There is a terrific business to be done, even when they are obliged to put coals on her fire.”

In 1876—four years after Crowe’s death—William Forster produced a play called “The Weirwolf: A Tragedy” that he made clear was “from a story by Mrs. Crowe” in the printed script. This appears to be the first werewolf play taken from a werewolf story written by a female.

#CatherineCrowe #crowewerewolfstory #classicwerewolf short stories #firstwerewolfstorybyawoman #bestwerewolfstories