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A review by emimli
Tell Me I'm Worthless by Alison Rumfitt
challenging
dark
emotional
tense
medium-paced
- Loveable characters? No
- Diverse cast of characters? Yes
0.5
I wanted to love this book so badly, but it left me feeling extremely disappointed and kind of pissed off.
Things I liked:
- A very original twist on the haunted house trope that explores how ideological violence leaves its imprint on people, spaces, and cultures
- Some genuinely horrifying imagery that will stick with me for a while
- Deep explorations of trauma, repression, and the ways in which violent victimization can reshape a person’s perception of reality
- A complex central relationship, wherein both characters love each other as people but hate what the other represents ideologically
Things I hated:
- This book was edgy purely for the sake of being edgy at times, to the point where it became tedious; Rumfitt could not go two lines without having a ~welcome 2 my twisted mind~ moment
- The blurb refers to this book as "darkly funny" but there was not a single ounce of humour anywhere in here. What am I supposed to be laughing at? Violent anti-Semitism? Graphic sexual assault? Fuck off
- The political commentary was extremely heavy-handed, to the point where it almost seemed intentionally corny, as if the book was mocking its own denunciation of fascism, which definitely isn't a good look
- The two main characters are horrible fucking people. One is a TERF and one is a straight-up neo-Nazi. Okay, fine. Unlikeable characters can make for interesting stories. Yet the book pushes you to sympathize with them, particularly the neo-Nazi. No. I will not sympathize with them. They both fucking suck and I hate them
-The character “development” is handled poorly and inconsistently. At the end of the book, the main characters get some kind of attempt at a redemption arc, where they’re finally in a seemingly healthy relationship and are doing activist work. The aforementioned TERF character has come out as trans and renounced his former ideology, which was an interesting conclusion to his arc. But the other main character’s literal Nazism is never brought up again. Let me repeat that: the author never addresses that one of the main characters is a LITERAL NAZI again. The reader is clearly meant to root for the couple in this epilogue, but how the fuck am I supposed to do that when ONE IS A FUCKING NAZI. I absolutely could not stand the book’s attempts to make me sympathize with Alice or want the best for her, because she. is. a. Nazi. All the way to the bitter end.
- Hannah?????? What the fuck was the point of her death and subsequent imprisonment in the house?? For a book that beats you over the head at every turn with the messages it wants you to internalize, it sure did lack any explanation whatsoever for Hannah’s role in the story. “White women are symbols” is repeated several times throughout the book and I presume that this is somehow related to Hannah’s fate, but I could not for the life of me tell you how. Like yes it applies in a literal sense to Hannah (*shudder*) but what is it supposed to mean in relation to the broader themes of the book???
- The book’s historical engagement with the topic of fascism is strangely limited to WW2, even though it alludes to ancient Britain (Albion) being some kind of source of fascism and fascism-adjacent beliefs. Soooo what happened in the years between Albion and WW2? Fascism didn’t emerge out of a vacuum, fully formed in the 1930s - it was built on the foundations of existing ideologies. So where is the discussion about the ideologies that fascism grew out of? Imperialism, colonization, the ideological construction of whiteness, of masculinity, etc.? There was no clear connection between the ancient source of the house’s power and the fascist ideology that haunts it, because the author never attempts to draw one. She just jumps from ~the vaguely ancient times~ to WW2 without linking anything together.
Overall, the message of this book can be succinctly summarized as “fascism bad.” Which yes, that’s absolutely true, but I already knew that. While this book has a lot to offer to the horror genre, it adds nothing new or interesting to political conversation. And it’s weird efforts to make me sympathize with its anti-Semitic main character pissed me the fuck off.
Things I liked:
- A very original twist on the haunted house trope that explores how ideological violence leaves its imprint on people, spaces, and cultures
- Some genuinely horrifying imagery that will stick with me for a while
- Deep explorations of trauma, repression, and the ways in which violent victimization can reshape a person’s perception of reality
- A complex central relationship, wherein both characters love each other as people but hate what the other represents ideologically
Things I hated:
- This book was edgy purely for the sake of being edgy at times, to the point where it became tedious; Rumfitt could not go two lines without having a ~welcome 2 my twisted mind~ moment
- The blurb refers to this book as "darkly funny" but there was not a single ounce of humour anywhere in here. What am I supposed to be laughing at? Violent anti-Semitism? Graphic sexual assault? Fuck off
- The political commentary was extremely heavy-handed, to the point where it almost seemed intentionally corny, as if the book was mocking its own denunciation of fascism, which definitely isn't a good look
- The two main characters are horrible fucking people. One is a TERF and one is a straight-up neo-Nazi. Okay, fine. Unlikeable characters can make for interesting stories. Yet the book pushes you to sympathize with them, particularly the neo-Nazi. No. I will not sympathize with them. They both fucking suck and I hate them
-
- Hannah?????? What the fuck was the point of her death and subsequent imprisonment in the house?? For a book that beats you over the head at every turn with the messages it wants you to internalize, it sure did lack any explanation whatsoever for Hannah’s role in the story. “White women are symbols” is repeated several times throughout the book and I presume that this is somehow related to Hannah’s fate, but I could not for the life of me tell you how. Like yes it applies in a literal sense to Hannah (*shudder*) but what is it supposed to mean in relation to the broader themes of the book???
- The book’s historical engagement with the topic of fascism is strangely limited to WW2, even though it alludes to ancient Britain (Albion) being some kind of source of fascism and fascism-adjacent beliefs. Soooo what happened in the years between Albion and WW2? Fascism didn’t emerge out of a vacuum, fully formed in the 1930s - it was built on the foundations of existing ideologies. So where is the discussion about the ideologies that fascism grew out of? Imperialism, colonization, the ideological construction of whiteness, of masculinity, etc.? There was no clear connection between the ancient source of the house’s power and the fascist ideology that haunts it, because the author never attempts to draw one. She just jumps from ~the vaguely ancient times~ to WW2 without linking anything together.
Overall, the message of this book can be succinctly summarized as “fascism bad.” Which yes, that’s absolutely true, but I already knew that. While this book has a lot to offer to the horror genre, it adds nothing new or interesting to political conversation. And it’s weird efforts to make me sympathize with its anti-Semitic main character pissed me the fuck off.
Content Warnings
Graphic: Addiction, Alcohol, Antisemitism, Physical abuse, Sexual harassment, Toxic relationship, Sexual assault, Hate crime, Rape, Sexism, Sexual violence, Toxic friendship, Xenophobia, Death, Drug abuse, Drug use, Dysphoria, Genocide, Transphobia, Violence, Animal death, Alcoholism, Body horror, and Misogyny