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SailGP Championship: From towering catamarans racing at 60mph to $12.8m in prize money. Is this F1 on the water?

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SailGP Championship: From towering catamarans racing at 60mph to .8m in prize money. Is this F1 on the water?

Humans have sailed the oceans for centuries. But, as a spectator sport, sailing has barely made a dent in the public consciousness, outside of the Olympics at least. There’s no denying that it can often be difficult to make sense of what’s going on way out there on the water, for a start.

But the SailGP Championship has set out to prove watching sailboat racing can be thrilling, entertaining and even get you jumping off the sofa and yelling at your TV.

Every aspect of this global competition — the boats, the track, the sudden-death format — has been designed to grab attention. The aim has been to turn heads, generate excitement and engage people who have previously never shown any interest in sailing.

And now you’ll be able to follow the action with The Athletic too, as we bring our fan-first approach to global sports coverage to SailGP, taking you inside the championship and telling you everything you need to know about a competition that has been likened to Formula 1 on water.


SailGP in a nutshell

SailGP is a high-speed, close-to-shore international sailing championship consisting of 12 national teams who race identical F50 catamarans head-to-head at 13 venues around the world over a 12-month season.

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For 2024-25, which runs from November to November, the competition takes the six-person teams to five continents. Three Grands Prix are held in the United States (Los Angeles, San Francisco and New York), while England, Germany, Spain, Brazil, Switzerland, France and Italy also host race weekends. The season-ending round will be in Abu Dhabi.

So far, the competition has been open, with multiple winners across the opening three Grands Prix in Dubai, New Zealand and Australia. Each race weekend, the 12 teams compete in five races, three on the Saturday and two on Sunday. The top three teams from those five then progress to a winner-takes-all final race.

The boat: Meet the F50


Team Australia competes during SailGP Sydney on February 8 (Matt King/Getty Images)

Most boats float on the surface of the water. The F50, on the other hand, is a lightweight carbon-fiber catamaran that uses intricately designed and engineered hydrofoils to launch the body of the boat above the water, massively reducing the hydrodynamic drag and attaining a level of efficiency that was once unthinkable.

The unique aspect of SailGP is that all its F50s are identical, which helps keep costs down and competition tight. The difference between winning and losing comes down to the skill and strategy of the athletes controlling them.

With the F50 ‘foiling’ above the surface of the ocean, it is capable of speeds over 60mph (100 kilometers an hour) — a pace so rapid that even the petrol-powered chase boats can’t keep up.

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Once these high-tech catamarans are flying along above the water, they can travel at over three times the speed of the wind, with athletes on board experiencing G-forces of up to three times their body weight during the tight maneuvers around the congested race track. A sailor who weighs, for example, 80kg (176 pounds; 12st 8lb) will feel the weight of 240kg on their body.

Propelling F50s at breakneck speeds is potentially dangerous, which is why the sailors wear body armor and crash helmets. They are permanently tethered to a retaining line on the boat to prevent them from falling overboard.

Even with all these safety measures in place, injuries do happen from time to time.

At the SailGP Auckland event at the end of January, for example, Canada’s Billy Gooderham was injured when he was hit by a wall of water, shattering his crash helmet and causing him to be rushed to hospital. Thankfully, X-rays later revealed that nothing had been broken.


Denmark, helmed by Nicolai Sehested, nearly capsized during practice ahead of the second race day in New Zealand on January 19 (Felix Diemer for SailGP)

Who is behind SailGP?

American billionaire Larry Ellison made his fortune helping build Oracle Corporation into one of the world’s most successful software businesses. Over the decades, Ellison — fourth on Forbes’ ‘Real Time Billionaires List’ — has spent a good part of his wealth on various forms of sailboat racing.

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From a near-death experience in the 600-mile Sydney Hobart Race in Australia to twice winning the America’s Cup, the world’s oldest international sporting competition, Ellison’s passion for sailing has been one of enduring enthusiasm.

New Zealand’s Russell Coutts, one of the most successful competitive sailors of all time, masterminded those two America’s Cup victories for Ellison (in Valencia, Spain, in 2010 and San Francisco three years later).

Having lost the America’s Cup in 2017, however, Coutts and Ellison turned their minds to an idea they had been kicking around for years: would it be possible to create a sailboat racing circuit that was truly commercially viable and capable of being self-sustaining without large cash injections from privately wealthy individuals?

Just over a year later, in late 2018, Coutts unveiled his grand plan — SailGP was born.

How similar (and different) is SailGP to F1?

SailGP shares some similarities with Formula 1, the pinnacle of professional motor racing.

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Coutts makes no secret of his desire to emulate the commercial success of F1, to the point where he has even thrown out the traditional language of sailing. Crew members are called ‘athletes’ not sailors, the skippers are ‘drivers’ and boat speeds are measured not in nautical knots or even in miles per hour but in kilometres per hour (partly because you sometimes see them exceed that nice round number of 100km/h).


The fleet leaves the start during SailGP Auckland on January 19 (Phil Walter/Getty Images)

Whereas in F1 there are constructors’ and drivers’ championships, in SailGP there is only one title at stake. In SailGP, winning the start is important, but there is no pole position as in F1. All 12 teams are jostling for the best position on the start line until the gun fires, with the aim being to be flying above the water at full speed as the front of your F50 crosses the start line right on the ‘B’ of that bang.

Judging time and distance at high speed is no easy job — hit the start line too soon and the umpires will message to slow down until the rest of the fleet have gone past you. Some teams prefer to get in position early, although this means they have limited space and opportunity to get up to full speed before the gun fires. Others like to sit off and make a timed run towards the line from a long way back.

In F1, data is king and is guarded from rival teams. In SailGP, all the race data is shared centrally, the aim being to keep the gap between the front and the back of the fleet as short as possible. Immediately after a race weekend, you can bet other crews will be poring over all that data for the smallest clues of how to improve performance.

Both F1 and SailGP place strong limits on practice time.

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For SailGP, a big reason for this is because the teams’ equipment spends so much time traversing the globe in a stack of 40ft shipping containers. But it’s also to keep a limit on costs, though the lack of practice time does make it challenging for the less-experienced crews to close the performance gap on the veteran teams from Australia, Great Britain and New Zealand.

The vagaries of the wind

The race course is never the same twice in a wind-powered sport such as SailGP. There could be a mild breeze, a storm, or sometimes no wind at all.

To adapt to various weather conditions, much like having different tires for different race conditions in F1, the F50 catamarans are equipped with three different wing sizes — 18m (59ft), 24m, and 29m — as well as interchangeable sizes of hydrofoils and rudders (the latter are used for steering).


Team Great Britain and Team New Zealand compete during SailGP Sydney on February 9 (Matt King/Getty Images)

The smallest wing is used in strong winds to maintain control, the largest gets deployed in light winds to maximize power, and the middle-sized one serves as an all-purpose option. Similarly, the size of the hydrofoils and rudders varies according to changes in the wind strength.

The size of wing teams must use in a race is decided by the race organizers and all teams must use the same ones. In lighter winds, the F50 relies on the biggest set of foils to generate the lift to break clear of the water’s surface and get up and foiling. In stronger winds, getting on the foils is much easier and the smaller set of hydrofoils creates less drag in the sea, resulting in the highest speeds.

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The crew: Who does what on board?

Success in the F50s requires not only physical strength but split-second decision-making and constant communication too. Each individual’s role is vital to a team’s success.


Helmed by Martine Grael on race day 1, Brazil competes in Australia on February 8 (Felix Diemer for SailGP)

The best crews are a tight-knit bunch who implicitly understand the needs of their teammates with only minimal communication. It’s vital that everyone is in tune with the boat’s pre-agreed set moves.

There are usually six athletes on board each F50 — a strategist, a driver, a wing trimmer, a flight controller and two grinders.

  • Grinders: The engine room. Their job is to generate power for the wing trimmer to adjust the wing in and out as the wind varies.
  • Wing trimmer: Constantly adjusts the wing sail for maximum speed.
  • Flight controller: Manages the ride height of the boat above the water, aiming to avoid any costly nosedives or crashes.
  • Strategist: Reads the ever-changing wind, making tactical decisions either to attack or defend.
  • Driver: The figurehead and a team’s highest earner, steering and making the final decisions about positioning.

In light winds, race organizers might instruct teams to drop to as few as four people to make the F50s lighter. When this happens, the teams are in charge of deciding who they keep on board.

As with other forms of professional sport, the salaries can vary enormously from team to team. For many of the athletes, the prize money — across this season there is a $12.8million (£10m) prize pool up for grabs — often outweighs their basic salary, which tends to be around $50,000 per season.

How does the championship format work?

Success depends on consistency. The aim is to score well enough from the five fleet races across a weekend to earn a place in the top three who progress to the winner-takes-all final race.

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Switzerland, helmed by Sebastien Schneiter, in Auckland on January 19 (Ricardo Pinto for SailGP)

Going from the more conservative points-accumulation parts of the weekend to that 10-minute sudden-death final race demands a complete switch of mindset. Some sailors are more naturally suited to a cautious, patient approach, whereas others throw caution to the wind. Neither approach is right or wrong, it’s a matter of applying the mindset that best matches the moment.

At the season finale, the three top-performing teams from across the season face off in a single, winner-takes-all showdown for the title and a $2million prize. A team can be dominant all season yet lose in the grand final — which is exactly what we saw last season in San Francisco, with Australia toppled from the top of the leaderboard as Spain swooped in to take the championship in a masterfully executed smash-and-grab.

How do you win a race?

Each race lasts a maximum of 16 minutes. The fleet launch out of a timed start and accelerate to speeds close to 100kmh as they converge on Mark 1.

Getting around Mark 1 first brings a huge advantage, so there’s enormous emphasis on winning the launch out of the start. Then, the fleet turn downwind towards the bottom of the course for a fast and furious two laps before a high-speed finish, usually positioned to give spectators on shore a grandstand view as the F50s blast across the finish line.

There are three key strategies to winning a race: finding more wind to sail your boat faster through the water, using superior techniques to travel quicker in conditions that are the same for everybody, and identifying wind shifts and angles to navigate a shorter distance around the course.

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Sailing is totally powered by nature. You have to zig-zag your way around the course, searching for the best breeze and steering at the optimal angle to the wind.

Wind: the invisible power source

How do sailors see wind? It creates ripples on the surface of the water, giving clues as to where the strongest gusts are likely to be. Spotting wind shifts is even trickier — you have to look at how gusts move along the course. The shape and movement of these gusts become second nature to experienced sailors.

There’s a lot to take in at once — reading the subtleties of the wind, as well as the current on the water in tidal venues such as San Francisco — which is why SailGP attracts the best sailors in the world, many of them Olympic gold medallists and world champions from other branches of professional sailing.

Who are the teams to watch?

Australia, skippered by Tom Slingsby, are an ever-present threat. The Flying Roos won the first three seasons of SailGP before being beaten to the punch last year by Spain in the final race. Past seasons have seen New Zealand showing strong form, but the Kiwis — headed up by three-time America’s Cup winner Pete Burling — are struggling in mid-pack so far this year.

Leading the standings after the first three events are the Brits, with new driver Dylan Fletcher on an impressive learning curve in his first season at the helm of Emirates GBR. On the other hand, the United States are struggling in 11th. Taylor Canfield’s crew will be looking to turn their season around at the forthcoming events on home waters, in Los Angeles this weekend, then San Francisco on March 22-23.

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Britain celebrate victory on race day 2 in Sydney in February (Andy Cheung/Getty Images)

What does the remaining 2025 calendar look like?

Los Angeles, U.S.: March 15-16

San Francisco, U.S.: March 22-23

Rio de Janeiro, Brazil: May 3-4

New York, U.S.: June 7-8

Portsmouth, UK: July 19-20

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Sassnitz, Germany: August 16-17

Saint-Tropez, France: September 12-13

Geneva, Switzerland: September 20-21

Andalucia-Cadiz, Spain: October 4-5

Abu Dhabi: November 29-30

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I’m convinced. How do I watch?

You can watch SailGP live or catch highlights on broadcast partners around the world, as well as through the official SailGP app and social media channels. In the United States, racing is live on CBS Sports, and in the UK, you’ll find it on TNT Sports.

(Top photo: SailGP; design: Demetrius Robinson)

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Book Review: ‘The Fisherman’s Gift,’ by Julia R. Kelly

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Book Review: ‘The Fisherman’s Gift,’ by Julia R. Kelly

THE FISHERMAN’S GIFT, by Julia R. Kelly


“The Fisherman’s Gift” begins with a child washed up on a Scottish beach after a storm in 1900. A fisherman, Joseph, finds the boy, and carries him through the local village, Skerry Sands, past the shop where the novel’s Greek chorus of housewives gather, to the minister, who in time entrusts the boy to the schoolteacher Dorothy. Dorothy’s own son, Moses, disappeared in a similar storm several years earlier when he was just 6 years old. In an early sign of the novel’s difficulties, this stranger child is sometimes uncannily like and at other moments obviously different from Moses.

While the boy is with Dorothy, the story of Moses’ conception, birth and disappearance returns to the center of village life and conversation. Dorothy is not a Skerry native; she moved to the fishing village to teach, and her limited social skills and professional status meant that she has remained an outsider, especially after the breakdown of her marriage to a village man, and after she raised and lost her child in the community. She has remained aloof from the village women; in turn they regard her with suspicion and resentment, particularly for her ambiguous relationship with the otherwise eligible Joseph.

The novel’s plot is simple: A stranger comes to town, and then a stranger child comes to town. It’s a good engine for unraveling the stories buried in an isolated village, and in “The Fisherman’s Gift” there are many tales lurking underneath the animating mystery. They include the daughter of a violent marriage resisting her own violent husband; several women more and less maddened by grief for sons and brothers lost at sea; mothers with too many children and some with children lost; men struggling to fulfill their required roles on land and sea.

The village of Skerry is nicely realized, and Kelly describes the sea and weather vividly. The story is well paced and the dialogue strong, always a challenge with dialect speech from long ago.

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But there are flaws in craft and focus. The omniscient narrator treads heavily, often in prominent sentence fragments pointing out the obvious. A chapter begins, “And there are other things she must face in this moment of truth in her life.” A paragraph between two reflections is, “How much has happened since.” These things shouldn’t, and in fact don’t, need flagging. And there are repetitions of images and phrases, to which we are all prone but they shouldn’t make it to publication. Three times someone’s instinct for mishap is compared to “the way you know when you knock at a door that no one’s home.” Small matters, maybe, but the cumulative effect is a distracting clumsiness.

Furthermore, there is fundamental indecision about what kind of book this is. The novel gestures toward fable and fantasy, first hinted at with an epigraph from Yeats’s “The Stolen Child.” Fine; there are some excellent recent novels that play with North Atlantic folklore to explore community, individualism and the powers of the natural world.

But “The Fisherman’s Gift” invokes the supernatural and then strives to provide realist explanations at every turn. The story depends heavily on coincidences, including a minor character apparently brought in solely to fall off a bicycle with an important telegram as Dorothy happens to be passing. A full investment in folklore would obviate the need for such far-fetched events. And still there are clunky omens (lucky wedding salt spilled as Dorothy’s ill-fated husband carries her over the threshold on her wedding day, dreams and sleepwalking that foreshadow disaster) and a central resolution in supernatural terms.

This feels, in the end, like a promising novel that needed more conviction. It is not without strengths — the characters and setting are memorable — but the magic and rationalism undermine each other, leaving the reader frustrated by both.


THE FISHERMAN’S GIFT | By Julia R. Kelly | Simon & Schuster | 355 pp. | $28.99

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The funniest 2025 March Madness bracket names: Picking our favorites

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The funniest 2025 March Madness bracket names: Picking our favorites

There’s not too much shame in a botched March Madness bracket. The NCAA Tournament is compressed chaos in single elimination, upsets are part of the game, and only one entrant can actually win it all.

What we can’t forgive is a lazy, uninspired bracket name.

The men’s and women’s tournaments give us a wealth of punnable school, player and coach names to choose from — even an arena or two. Here are this correspondent’s favorite puns and frivolities for 2025 bracket names. Give us yours in the comments below.


Men’s

Ok, Broomer — For those who see Auburn as an inevitability, go with their star, Johni Broome. These are not your postwar Tigers.

Green Flaggs — A lot of folks will swipe right on the Blue Devils if their megastar Cooper Flagg is healthy.

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Lipsey’s Hustle — The marathon continues for Tamin Lipsey, Iowa State and the Fightin’ Otzelbergers.

Knuck If You Buzz — Texas A&M head coach Buzz Williams has the sheer intensity and righteous passion of prime Lil Scrappy.

Let’s Get Oweh From It All — To Kentucky’s Otega Oweh: “Let’s take a boat to Bermuda, let’s take a plane to Lexington.”

Yes, UConn — For the Huskies believers.

No, UConn’t — For people who actually watched UConn this season.

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Creighton for a Star to Fall — The name whispered on the wind was, in fact, “Ryan Kalkbrenner.”

Caleb Love and BasketballFor what? Our hearts, of course. And an Arizona run.

Caleb Grillz — Missouri bucket-getter Caleb Grill has his whole top diamond and the bottom row gold … we think.

Littlejohn and the Eastside Boyz — Chase Hunter and Clemson have forced their tourney seeding to Get Low. Looking to bring some hardware back to Littlejohn Coliseum.

Frankie Fidler on the Roof — To life, to life, to Sparty. Tevye would’ve trusted Michigan State’s Tom Izzo in March.

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Love (Ma)shackIt’s a lil’ old place where we can get together … and make Alabama really upset. Tennessee’s Jahmai Mashack had one of the coolest moments of this college season.

LJ Cryer and the Infinite Sadness — A [Houston] Cougar with Butterfly Wings. Underestimate whatever that is at your own peril.

Queen’s Gambit — Maryland’s freshman center Derik Queen is the tallest, fleetest turtle we’ve ever seen.

Kameron Presents…the (Golden) Diplomats — Based on Marquette’s guard Kameron Jones. Does that make David Joplin Juelz Santana?

Silkk Da Shaka — Another great Marquette play.

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Toppin My Collar — For those both appreciating Texas Tech’s resurgence (and star JT Toppin) and wishing it was 2005 again.

“What Are You Doing in My Swamp?!”— The Florida Gators would win and cover against Lord Farquaad.

Rick Pitino’s Bodega Corner — The Johnnies have taken New York by (red) storm.

Throw it Down, Big Man —For those wanting to honor the late Bill Walton.

One Shining Moment — For those wanting to honor the late Greg Gumbel.

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Grant Nelson’s Mustache —  In celebration of the sport’s modern canon.

The Parentheses Preferers — Who needs brackets? Proper punctuation prevents poor performance.

Tar Heels and Glass Slippers Maybe, just maybe, there’s someone out there who has UNC making a Cinderella turn.

The Floor Slappers Federation — Yup, it’s about that time.

Women’s

Elementary, My Dear Watkins — For those who fashion JuJu Watkins and the Trojans as “A Study in Scarlet.”

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JuJu Fruit — We’re sweet on JuJu and USC.

For Bueckers or Worse — Paige Bueckers is the superstar, but Sarah Strong and Azzi Fudd also balled out this year.

For Auriemma, Forever Ago — Do we think UConn’s iconic coach, Geno Auriemma, knows who or what Bon Iver is?

Place Your Betts — UCLA and Lauren Betts could certainly cash out after their inspired Big Ten tourney performance.

Dawn and On — South Carolina and Dawn Staley pursue their fourth national title of this era. We’ll take every opportunity to hear more Erykah Badu.

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Boom Boom Paopao — The WNBA-bound Gamecock Te-Hina Paopao is so 3008.

The Van, The Lith, The Legend — TCU’s superstar Hailey Van Lith just put in work as the MVP of the Big 12 Tournament.

Hidalgo To Bed — Don’t sleep on Notre Dame (or Hannah Hidalgo) despite the late-season slump.

Came Out a Beast — Flau’jae Johnson is nice on the boards and in the booth.

Taylor Jones’ Block Party — Everyone’s invited. Texas is tough in the frontcourt.

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Wes is Moore — A guiding mantra. NC State’s sideline strategist Wes Moore is the ACC’s Coach of the Year.

Lawson’s Creek — For those switching over to Duke (coached by Kara Lawson) after their conference tournament title. Casting recommendation: Michelle Williams as Toby Fournier.

O.K., Sooner — We brought it back one time for those rolling with Raegan Beers and Oklahoma.

(Illustration: Kelsea Petersen / The Athletic; Harry How / Getty Images, Grant Halverson / Getty Images, Kevin C. Cox / Getty Images)

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Book Review: ‘The Buffalo Hunter Hunter,’ by Stephen Graham Jones

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Book Review: ‘The Buffalo Hunter Hunter,’ by Stephen Graham Jones

THE BUFFALO HUNTER HUNTER, by Stephen Graham Jones


Stephen Graham Jones’s new novel would give Gen. Philip Sheridan fits. The Civil War officer is often cited as the source of one of the most infamous sayings in American history, “The only good Indian is a dead Indian,” and there are dozens if not hundreds of dead Indians in “The Buffalo Hunter Hunter.” There’s also a very long-living or, more accurately, undead one who opines: “What I am is the Indian who can’t die. I’m the worst dream America ever had.” Take that, General!

Good Stab is an Indigenous man from the Blackfeet tribe living in Montana around the time of the 1870 Marias Massacre, when U.S. Army troops killed nearly 200 unarmed women, children and elderly members of the Blackfeet Nation, a tragedy that figures in a multitude of ways throughout this gruesome joyride of a novel.

One day, Good Stab is caught in a violent encounter with a wagon train of white settlers holding a supernatural being in a cage. The strange, humanish creature is bloodthirsty, death-defying, antagonistic, charismatic and chatty. He’s called the Cat Man, and he’s a centuries-old vampire. During an ensuing skirmish with the white settlers, the Cat Man is freed and his blood gets mixed into a wounded Good Stab, who then becomes a bloodsucker as well.

Now released, the Cat Man preys on Good Stab’s tribe, which enrages Good Stab, leading to decades of conflict between the two. All the while, each is on a near-perpetual quest for vengeance against white settlers and for survival in 19th-century Montana.

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None of this will be any surprise to readers of Jones’s past fiction, which has confidently mashed up various horror genres with pointed explorations of Native American experience. But two features stand out with his latest: first, the particular terms of vampiric living.

Rather than cloaked, castled mystery and wealthy Eurotrash vibes (familiar features of the vampire story, from Bram Stoker’s “Dracula” in 1897 through to Robert Eggers’s remake of “Nosferatu” in 2024), the monsters in “The Buffalo Hunter Hunter” are High Plains eternal drifters who have to drain their victims completely to remain vital. Moreover, in a mordant deep joke on the saying that you are what you eat, Cat Man and Good Stab inevitably take on the attributes of their victims, whether humans or animals.

Dante would be pleased with the situation Jones has created, though social justice-oriented readers looking for an easy-to-cheer-for BIPOC vigilante be warned: Good Stab can only defend his people and carry out vengeance on behalf of the Blackfeet by, as the novel’s title suggests, killing and feeding on lots and lots of Native Americans himself.

And his Blackfeet victims aren’t just fellow warriors in the midst of battles, either. In one case, Good Stab gorges on a child after crawling into the lodge of a sleeping family. First he quietly bites into her throat. “I didn’t think she could scream anymore, but I didn’t want her mother to have to see this,” he observes. But his remorse means little compared with his sudden insight: The younger the person he blood-sucks dry, the stronger he becomes. Cat Man already knows this, which leads to a wrenching climactic encounter with Good Stab that recalls the awful dilemma at the center of Ursula K. Le Guin’s story “The Ones Who Walk Away From Omelas.”

The consequences of this showdown stay with Good Stab forevermore. He unpacks his unquiet heart decades later, and his doing so plays out through the second distinctive feature of Jones’s novel: its story-within-story-within-story structure.

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The novel opens with a discovery — in 2012, a book hidden in the wall of an old parsonage is found by an unnamed construction worker. It turns out to be a journal, written in 1912 and belonging to Arthur Beaucarne, the pastor of the local Lutheran congregation. Inside it contains the story of his strange encounters with Good Stab, who, after years of carnage, has seemingly come to him to confess.

In the novel’s 1912 sections, Jones adeptly plays into the expectations we have of horror tales. Good Stab appears and disappears in the church at will; people in town are being killed inexplicably; the sheriff doesn’t believe Beaucarne when he tries to tell him his suspicions about Good Stab; and Beaucarne himself has a secret past, which makes his vow to listen to Good Stab’s confession with “a good heart” increasingly suspect. Jones creates and builds a strong sense of suspense and mystery in the 1912 sections, whereas the Good Stab passages are comparatively loose and repetitively graphic, to the point of tedium.

This all comes to us through yet another frame narrative — at the beginning of the novel, Etsy Beaucarne, a flailing academic and descendant of Arthur, acquires the journal. Reading it, she’s curious about what she learns of her ancestor and his undead companion. As the novel unfolds, Jones moves back and forth between Beaucarne’s haunting in 1912 and Good Stab’s hunting in the years before, reserving Etsy’s discovery of her family connection to a strange and supernatural past for the opening and closing segments of the book.

What is Jones doing here, with this trifold narrative structure? He has created a novel that invites us to reflect on how the stories we tell about ourselves can be at once confessions and concealments. At the same time, he’s using this framework to set up some scary, big reveals. Do the vampire math, people: The story Etsy’s reading from a hundred years ago isn’t finished yet.


THE BUFFALO HUNTER HUNTER | By Stephen Graham Jones | Saga Press | 435 pp. | $29

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