In deep Louisiana, a serial killer with a taste for medical experimentation is completing his most ambitious project yet. The media call him 'The Butcher' - and, so far, he's proved impossible to catch. There was a scene with a deer that I skipped. I have no idea if it was integral to the development of the killer, but I wasn't going to find out. I am not fond of "cliffhanger" endings. If this turns into a series it makes sense, as a stand-alone, I find it irritating.

The case was interesting, Jeremy’s perspective was dark and Wren had room for character growth. There was a lot of potential here, I just wish there was more. As a proud Weirdo, I was so excited to have the chance to read this novel from one of my favorite podcasters, and it did not disappoint. I cannot wait to read what happens to Wren and the gang. From the popular true-crime podcast MORBID, co-host, and creator Alaina Urquhart comes an edgy killer thriller debut, THE BUTCHER AND THE WREN —bloody good!I never said it was his sole intention. I just don’t like my abilities being tested by some gutless asshole who thinks he’s Hannibal Lecter or something.” The entertainment industry is hell-bent on convincing viewers that morgues are high-tech space labs with touchscreen computer walls. They are not. Sure, they all have that classic stainless steel and clinical white clinical aesthetic, but the reality is far messier and lower tech than shown onscreen. Remember, the morgue is a place where body fluids spray around, especially while opening a skull or severing a spinal column. I think Silence of the Lambs did a nice job of striking this balance—and especially portraying the solemn feeling of an autopsy. With the help of police detectives and others in her office, Wren tries to stay one step of Jeremy, but can she stop him before she becomes the next victim? In one of the episodes of the podcast, either Alaina or her cohost, Ashleigh, talks about seeing a ghost woman who 'didn't have a body; she was just made of bones,' and oddly enough, I feel like that is the perfect description of The Butcher and the Wren. The story is there, but it desperately needs to be fleshed out to be a real winner. The characters don't have any depth, and I have no idea of their motivations for 95% of their actions. I didn't connect with any of them because there wasn't really anything with which to relate; Wren, the main character, has her work as a forensic pathologist, and that's about it. There are a bare minimum of scenes with her doing anything outside of work, and even those scenes have her talking about her work. We do eventually get more of her story with the twist--which is actually really good--but even that isn't enough to make her feel like a real character. Likewise with the serial killer; his actions are explained by the basic "he wanted to know what it felt like for things to die" motivation, which wasn't enough for me. The setting feels generic as well. The story is meant to be set in New Orleans, but other than visiting St. Louis Cemetery No. 1, the setting could be any hot, swampy place near a big city with music festivals, bars, and tarot card readers. Not only that, but she embarrassingly didn't read enough about the city on Wikipedia to know they don't bury bodies there as it's below sea level. Dig too far down, graves become soggy and fill with water, resulting in floating caskets. This is why cemeteries in NOLA have above ground tombs - it's legit part of why the city is so darn spooky!!!

Rating 3.5. This was an enthralling read, reminding me of a Criminal Minds and Bones episode. It's been a long time since I read a thriller from the prospective of the killer and investigator. I enjoyed the writing style that keep the story moving but I just wish it was a bit longer. To sum this one up, it was a true cat and mouse thriller providing interweaving perspectives between a serial killer dubbed 'The Bayou Butcher,' and a forensic pathologist named Dr. Wren Muller. At the beginning of this extremely fast-paced novel, we meet our killer, who is on the hunt for his next victim. I really enjoyed reading from the perspective of the Butcher, which had me captivated immediately - his thoughts provided nonstop entertainment, in more ways than one! The next chapter we meet Wren, who is a no-nonsense kind of gal, with an encyclopedic knowledge of historical crimes such as this current case, and dead set on stopping the murders, at all costs. As the chapters fly by, we eventually learn this is in fact not her first run-in with him, the previous encounter occurring years earlier while she was still a student, providing insight into why Wren is so intent on catching the Butcher, who has hunted the Bayou for years. If I wasn't already invested in the chase, I definitely was at that point! As the bodies pile up, Wren and her team begin the piece together clues, and when a victim finally survives, they are closer than ever to finally discovering the true identity of The Butcher....or are they?? Dignity is key in both my work as a true crime podcaster and as an autopsy technician. For example, I always try to part the victim’s hair in a way that allows me to make the necessary cuts without damaging their hair. Just like the person on my autopsy table is a human being who has people who love them, the people we discuss on Morbid are mothers, fathers, daughters, sons, and friends. Gallows humor has a place in the death industry, to allow workers to cope with the sometimes suffocating sadness that comes with the job, but it can never be in relation to the victim. While on the podcast, I maintain a more fact-based/clinical tone to avoid having the stories of real victims feel like exploitative entertainment, in my fiction, I allow myself a bit more creativity in my narrative style. If I could give one big mark, it's definitely that the readers would LOVE to see Wren develop, or do anything outside of work. Since we don't see Wren as an actual person with interests or personality traits, we need to see more interactions. Even in the one scene where she goes out to get drinks with her friends, I was left feeling incredibly *cringe* at the topics of conversations and overall vibes of the scenes. (read below)MO: So, I’m a big fan of Bones, but I know that entertainment can get things wrong. What’s your biggest pet peeve when it comes to fictional autopsies? AU: Thank you for saying that! I have been writing The Butcher and the Wren for years and the cat-and-mouse structure has always been central to the narrative. Nothing is scarier to me than a killer who brazenly communicates with those investigating their case. It’s a weirdly bold move that in real life, usually ends up being the killer’s downfall, but I’ve always wondered what would happen if these calling cards didn’t bring them down right away.