Hemlock Grove. Not a lot, but enough to be glad I read it. It wasn't great, mind you. It was, in some ways, deeply flawed, but it was a certain amount of fun. Sometimes you need to cleanse the palate between longer (more serious) books with something just quick and mindless. Hemlock Grove was that for me.The plot was, frankly, disappointing. On the surface it was a standard murder mystery, amped up to Eli Roth levels of gore, where the Hardy Boys were replaced by Peter (a werewolf) and Roman (something called a "upir" who apparently can make people do what he wants [think hypnotic suggestions] by simply looking in their eyes) who, like most teenage boys in books like these, think they are better suited than any of the adults around them to solve this particular mystery and put an end to these murders, murders that only happen on nights with full moons (wink wink). Is it Peter? Are we in for a surprising plot twist in the last act? So far I'm not turned off. After all, I was only looking for a fun little thriller to get me over the heartache of reading Kavalier & Clay.Then we get to the "deeply flawed" part. McGreevy seemed to throw in everything including the kitchen sink to create something new, and he failed because he left way too many threads dangling. What was "Project Ouroboros" anyway? What was the point of Shelley as the modern Frankenstein except for a deus ex machina in the last act? (Yes, good joke, her name was Shelley, I get it, and yeah "Peter" the "Wolf" wasn't lost on me either). Which wouldn't be too bad except it was the third deus ex machina in a row, and McGreevy even added the line: "Roman wondered if such a ludicrous deus ex machina was actually happening." (Yes, it was.) And I get that the "White Tower" was supposed to be the stand-in for the gothic castle, but nothing ever came of it. And on and on. I won't go into more detail without risking some serious spoilers, but trust me, red herrings were abundant.The characters were similarly a mess. Mostly weren't ever fully fleshed out (e.g., what was the deal with Dr. Pryce being the only person in town who could resist Roman?), others seemed significant but were quickly discarded (Chasseur), mostly were never explained (Shelley), except one who was uselessly-though-finally explained in a lengthy denouement five pages from the end (Olivia), and others, like Roman, were inconsistent throughout (starts off as a junior sociopath who turns into the world's best brother before becoming the weepy emotional Hardy Boy, and what's the deal with him developing a lifelong case of OCD in the last thirty pages?) and on and on.I will say, however, that the writing was solid. [N.B., I've read some online reviews stating that the punctuation was poor. I actually listened to this as an audio book, so I didn't notice. I offer no comment on that score.] I liked the shifting narratives and styles. I liked that it was told from a third person omniscient POV, and I think McGreevy pulled that off. I liked the odd way it would shift into first person, making you wonder who was telling the story, but I do wish he'd explained that in the end. I liked that he would use emails and transcripts of clinical sessions to further the story. I just wish he'd had some purpose for all that shifting around in the end (because without a goal in mind, you're just trying to show the reader that you're a clever writer which no reader needs rubbed in their face). And I wish he'd had a better editor who could have pointed out things like the fact that he refers to Roman as "mercurial" about six times in the first half of the book. [Further N.B., "mercurial" as a description can be used once, and only once, before the reader starts noticing the repetition and wonders what you're up to.]So *if* he had tied all of those plot lines together at the end this book and *if* he had straightened out his characters and *if* he had supplied some reason behind the shifting narrative, this could have been a minor masterpiece. But he didn't and it wasn't. Alas. It seemed to me as if this were part of a larger story-line, perhaps one that he intended to flesh out, but a contract with Netflix pushed him to publishing the first volume early. So knowing what he wanted to do with the rest of the story he threw in enough clues and anchors to support a (couple of) sequel(s) down the road if the series does well. Just a guess, but if so, good for him.Overall, it was fun. As a standalone novel, it holds up (sometimes only barely but yes) overall and leaves you curious for a little more. If you're looking for a fun and quick read, you could do worse. And if you're looking for a not-terribly-original spin on a modern gothic supernatural tale, you could certainly do much, much worse (these days, anyway).