By day, Rupert Wong – former triad soldier and sorcerer turned chef – prepares delicious meals from human meat for a dynasty of powerful ghouls in Kuala Lumpur; by night, he’s a seneschal and arbitrator for the Ten Chinese Hells. It’s a living, if not much of one.
When Ao Qin – Dragon of the South, god of the seas – smashes in Rupert’s window and demands he investigate his daughter and her mortal husband’s murders, his peaceful (if not particularly comfortable) life comes to an end.
Caught up in a war between pantheons, shipped around the world, going toe-to-toe with Elder Gods From Outside Space And Time, and always taking the time to read the fine print, Rupert’s going to need all his wits and a lot of luck to survive.
Abaddon Books has a number of shared universes with multiple writers dabbling in their continuities, much like the Marvel and DC stables; one of their more recent worlds is Gods and Monsters, pioneered by horror writer Chuck Wendig. It’s therefore appropriate that Cassandra Khaw has also joined this universe, with Food of the Gods. Food of the Gods was originally e-published as two novellas, one the sequel of the other; this collected edition brings the two together.
Each follows the adventures of Rupert Wong, Cannibal Chef; although Khaw may be misusing this moniker, since while Rupert butchers, prepares, and cooks human flesh for various entities, he himself does not seem to partake, with possible exceptions of tasting what he is himself cooking. Food of the Gods has a broad palate, taking in Malaysian cuisine, British staples, Western failures to cook South-East Asian food, Greek delicacies and more; one of Khaw’s great strengths is in her ability to write these foods with a deft touch that really makes the mouth water and nostrils twitch, even when the chief ingredient is homo sapiens. That’s of a piece with Khaw’s generally sense-centred writing; things have scents, sounds, feels, even tastes, as much as they’re seen, really invoking a kind of vividness through the writing that wholly engages the reader.
The voice of the book is also engaging; we’re told the story by Rupert Wong himself in the first person, and Food of the Gods does not stint on asides to the reader, on Malay and slang (the reader is addressed as ang moh throughout – or “white person”), and on the humour; Khaw often undercuts the most tense moments with Rupert’s ill-timed jokes. This combination can take a little while to get into, but rapidly it becomes a very individual narrative voice that demands the reader’s sympathy for Rupert and one’s concern for his future. Khaw also manages to make each of her secondary characters sound individual, a risky business with such a strong narrative voice; but each is distinct and unique, and strange in their own, divine ways, without falling back into cliche or simple cultural stereotypes or expectations.
The mixture of places, pantheons and gods on display in the book makes that even more impressive; Food of the Gods utilises Malaysiana folklore and traditional religion, Greek and Slavic gods, invented beings from the fiction of the 20th century, and even gods conjured less from specific beliefs than generalised prayers. This melange of different ideas of and approaches to divinity is fascinating and reminiscent of Terry Pratchett’s Small Gods and Hogfather (the Oh God of Hangovers, for instance), but Khaw takes it in a different, stranger, and altogether darker direction than simply a discussion of faith and reality; there’s more of an interest in what faith is, and she engages with that quite fascinatingly.
The plot of Food of the Gods is, then, perhaps the weakest link. The first half of the book feels a little contrived and not sure what it wants to be; originally published as Rupert Wong: Cannibal Chef, it does an excellent job of introducing us to the character and the world he inhabits, but the combination of murder mystery and high stakes politics doesn’t really hang together, and the plot doesn’t seem quite sure of its scale. The second half, Rupert Wong and the Ends of the Earth, hangs together more by virtue of being told it does than anything else; an awful lot of it feels like filler, fleshing out the world or the pantheon but not actually advancing the plot or events. That they’re also very obviously two novellas perhaps suggests Abaddon should have published this as two slimmer volumes, rather than one seemingly-single story.
In the end, though, Food of the Gods isn’t there for its plot, it’s there for its voice, and Rupert Wong is an incredible invention with a very distinctive and fascinating voice; I want to know where Khaw plans to take him next!
Disclaimer: This review was based on a final copy sent by the publisher, Rebellion Books.
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