EDITORIAL REVIEW:
First published in 1989, The Wolf's Hour remains one of Robert McCammon's most indelible creations. Ranging freely and with great authority through realms of history, folklore, and myth, it combines two seemingly disparate genres the World War II action thriller and the paranormal romance into a seamless, irresistible whole.
McCammon's hero is Michael Gallatin, embattled inhabitant of two different worlds. Born into the Russian aristocracy, but 'changed' and raised by a pack of werewolves, Michael's journey takes him from the wild regions of his native Russia to the battle-scarred landscapes of a world at war. Offering his unique talents to the Allied cause, Michael becomes a sort of secret weapon aimed at the destruction of Hitler and his 'Thousand Year Reich.' His adventures take him from the deserts of North Africa to the German-occupied countries of Western Europe. There, with the aid of a vivid assortment of friends, comrades, and lovers, he uncovers a horrific conspiracy known as 'Iron Fist,' which threatens to disrupt the Allies' long-planned invasion of Europe and to alter the very outcome of the war.
Both a scrupulously researched historical thriller and a brilliant re-imagining of the traditional werewolf tale, The Wolf's Hour offers pleasure, excitement, and illumination on virtually every page. Exotic, enthralling, and endlessly inventive, it is the work of a master storyteller in full command of his matchless narrative gifts.
The Subterranean Press edition of The Wolf's Hour will feature an original introduction by Robert McCammon, as well as a full-color dust jacket and a number of color plates by Vincent Chong, including a gatefold illustration depicting the novel's famous 'death train' scene.
SUMMARY:
A centuries-old curse has given master spy Michael Gallatin the power to turn from a man into a snarling wolf capable of shocking savagery. Against the looming apocalypse of World War II, Gallatin faces his most dangerous mission: to unravel the secret Nazi plan known as Iron Fist. And as D-Day draws nearer, Gallatin's curse becomes the Allies' only hope! Original.
About The Wolf's Hour
by Robert R. McCammon
I began The Wolf's Hour with the idea that I wanted to do a different kind of werewolf story, coupled with elements of romance and heroism. I wanted my werewolf to be a man who often enjoys being a creature who runs on all fours, with a keen sense of smell and vision. Sometimes, Michael Gallatin would much rather be a wolf than a human being.
I also wanted to do away with some of the conventions of the werewolf tale. I didn't see any need for werewolves to be restricted to the full moon in order to change, nor did it necessarily have to be night. I wanted to create creatures who had struggled to take control of their situation rather than being at the mercy of their circumstances. Which is not to say that a werewolf's life is easy; as one of the characters says, "A werewolf never dies of old age."
As much as possible, I wanted to try to make the development and life of these creatures as believable as possible. Which meant they would learn to endure extreme hardship, because how else could they live but in a wilderness environment? But I think there would be great joy in learning how to see the world as a wolf does, in learningβ-and it wouldn't be easyβ-how to run on all fours and use your tail as a rudder, how to hunt prey and kill it with your teeth and claws, and generally survive on a level that is at the same time both brutal and elegant.
The merging of brutality and elegance is what I was trying to accomplish, and I hope it succeeded reasonably well. The Wolf's Hour is set during World War II, and goes back and forth in time to show how Michael Gallatin became a werewolf and also follows his current mission in occupied France as a British secret agent. I've been asked why I chose World War II as my time frame, and not the modern era. My answer is that the period of the second World War appears to beβ-wrongly or rightlyβ-a very romantic time in the history of the world. Romantic, that is, in the sense that one knew who wore the black hats and who wore the white hats. It was a period of apocalyptic decisions and events, and more surely the pivotal period of the twentieth century. It seemed right for The Wolf's Hour, which is basically the tale of nature versus technology.
I also grew up reading the Ian Fleming James Bond novels, and I wanted to create a character who loved life yet had no qualms about killing if the situation demanded it. Michael Gallatin is not a man who kills for pleasure, but he is certainly a dangerous man because he knowsβ-like the wolf doesβ-that killing is basic to his survival. I also wanted Michael Gallatin to be a compassionate man, in that his work and the nature of killing is not his entire focus for being. He is a professional at his craft, but he's certainly not a machine and I wanted him to have very human emotions.
The Wolf's Hour is a departure for me in that it's not necessarily a horror novel, though its basis is the werewolf tale. Not horror, at least, in the supernatural sense, but the horror in The Wolf's Hour is fashioned by human hands, with a "horror genre" figure as the hero. I wanted to turn around the popular culture idea of a werewolf being a dumb brute who in the light of the full moon is compelled to rend and destroy. In The Wolf's Hour, it's the world beyond the werewolves that is brutish and destructive, while the werewolves themselves kill not for pleasure, but for survival.
I enjoyed researching wolf behavior before I started the book, and I also enjoyed reading a lot of military history and data about the personalities of the era, some of whom make appearances in the book. The Wolf's Hour was fun to write, and I hope in the future to continue Michael Gallatin's story