Meredith Hambrock’s second novel arrives like a theatrical knife thrust to the gut—precise, devastating, and impossible to ignore. Following her acclaimed debut “Other People’s Secrets,” which the New York Times praised as “audacious” and “fabulous,” Hambrock ventures into even darker territory with “She’s a Lamb!” This psychological thriller masquerading as dark comedy forces readers to confront the grotesque lengths to which delusion can drive us, particularly when filtered through the toxic lens of patriarchal expectations and unfulfilled dreams.
A Portrait of the Artist as a Young Sociopath
Jessamyn St. Germain emerges as one of the most unsettling protagonists in recent literary memory. At twenty-six, she’s trapped in the purgatory of regional theater in Vancouver, working as an usher while desperately clinging to fantasies of Broadway stardom. When the theater announces a production of “The Sound of Music,” Jessamyn becomes convinced that the role of Maria von Trapp is her destiny—despite being relegated to childminding duties for the young actors playing the von Trapp children.
Hambrock’s genius lies in her ability to make Jessamyn simultaneously repulsive and pitiable. The character’s internal monologue reveals a mind poisoned by narcissism, entitlement, and a profound disconnection from reality. Yet beneath the delusion lurks genuine trauma—sexual harassment, financial desperation, and a father who crushed her dreams with calculated cruelty. This complexity prevents the novel from becoming a simple cautionary tale and elevates it into something far more disturbing: a study of how society creates its own monsters.
The Theater as Battlefield
Hambrock draws from her extensive television writing background (including work on the Canadian Screen Award-winning “Corner Gas Animated”) to craft theatrical scenes that crackle with authenticity. The backstage politics, the petty rivalries, and the desperate hunger for recognition feel lived-in and genuine. The author’s acknowledgment that “nearly all actors I’ve met and worked with are entirely lovely, talented, and gracious people” serves as both disclaimer and ironic counterpoint to Jessamyn’s toxic worldview.
The choice of “The Sound of Music” as the central production is particularly inspired. The musical’s themes of family, love, and moral clarity create a sharp contrast to Jessamyn’s increasingly violent behavior. As she descends into madness, the irony becomes more pronounced—she seeks to embody Maria von Trapp’s purity while committing increasingly heinous acts.
A Writing Style That Cuts Both Ways
Hambrock’s prose adopts Jessamyn’s voice with uncomfortable intimacy, employing a stream-of-consciousness style peppered with bitter humor and self-justification. The author masterfully captures the cadence of contemporary speech, complete with valley-girl inflections and social media-influenced observations. Lines like “I am Jessamyn St. Germain, and I will be beloved by everyone” reveal both the character’s grandiosity and her fundamental emptiness.
The novel’s structure, divided into short, numbered chapters, mirrors the episodic nature of a descent into madness. Each section peels away another layer of Jessamyn’s sanity, building toward an inevitable and horrifying climax. Hambrock maintains tight control over pacing, never allowing readers to become comfortable with Jessamyn’s increasingly erratic behavior.
The Mechanics of Horror
Where the novel occasionally stumbles is in its balance between dark comedy and genuine horror. Some scenes—particularly those involving sexual manipulation and violence—feel jarring when juxtaposed with the satirical elements. The murder sequence, while shocking, sometimes reads more like a slasher film than the psychological study the rest of the novel suggests.
The supporting characters, while vividly drawn, occasionally feel more like obstacles in Jessamyn’s path than fully realized individuals. Samantha Nguyen, the actress who actually lands the role of Maria, exists primarily to represent everything Jessamyn believes she deserves. Michelle, the director, serves mainly as a symbol of the gatekeepers Jessamyn believes are conspiring against her.
The Patriarchal Poison
Hambrock’s most successful element is her examination of how patriarchal systems corrupt female ambition. Jessamyn’s relationship with her father provides the emotional core of the novel—his initial dismissal of her dreams, followed by his sudden appearance when she seems to have “made it,” reveals the conditional nature of patriarchal approval. The scene where he claims to have “always believed” in her, despite years of emotional abandonment, crystallizes the gaslighting that has shaped Jessamyn’s warped perspective.
“She’s a Lamb!” suggests that Jessamyn’s violence isn’t born from mere narcissism but from a desperate attempt to claim agency in a world that has consistently denied her autonomy. Her manipulation of men like Anton and Rudy represents a twisted form of empowerment, using the very systems that have oppressed her as weapons in her arsenal.
Technical Mastery and Emotional Distance
Hambrock demonstrates considerable technical skill in maintaining Jessamyn’s voice throughout the novel’s 400+ pages without losing narrative momentum. The author’s background in television writing serves her well in crafting dialogue that feels natural and revealing character through action rather than exposition.
However, the novel’s greatest strength—its unflinching commitment to Jessamyn’s perspective—also becomes its weakness. The relentless focus on one increasingly unsympathetic character can feel exhausting, and some readers may find themselves wanting more breathing room from Jessamyn’s toxicity.
The Final Act: Spectacle and Consequence
The climax, set during the actual performance of “The Sound of Music,” brings all of Hambrock’s themes together in a crescendo of violence and delusion. As police surround the theater and Jessamyn holds a child hostage, the gap between her fantasy and reality finally collapses completely. The image of her standing on stage, covered in blood while still believing herself to be Maria von Trapp, serves as a powerful metaphor for the dangers of unchecked privilege and delusion.
Literary Comparisons and Context
“She’s a Lamb!” exists in conversation with other recent novels exploring female rage and ambition. Like R.F. Kuang’s “Yellowface“ and Mona Awad’s “All’s Well,” Hambrock’s novel examines the toxic intersection of artistic ambition and social media-fueled narcissism. However, where those novels maintain some sympathy for their protagonists, Hambrock pushes further into genuinely disturbing territory.
“She’s a Lamb!” also echoes Gillian Flynn’s “Gone Girl“ in its portrayal of a female protagonist whose charm masks genuine sociopathy. Like Amy Dunne, Jessamyn manipulates those around her with calculated precision, but Hambrock’s creation feels more unhinged and less controlled than Flynn’s carefully orchestrated villain.
Recommendations for Similar Reads
Readers drawn to “She’s a Lamb!” might appreciate:
- “Flashlight” by Susan Choi – For its exploration of obsession and self-destruction
- “Bunny” by Mona Awad – For its darkly comedic take on artistic pretension
- “The Silent Companions” by Laura Purcell – For gothic atmosphere and unreliable narration
- “Social Creature” by Tara Isabella Burton – For its examination of social media-driven delusion
- “The Seven Husbands of Evelyn Hugo” by Taylor Jenkins Reid – For a more sympathetic but equally complex portrayal of theatrical ambition
Final Verdict: A Disturbing Success
“She’s a Lamb!” succeeds as both psychological thriller and social commentary, even when its darkness becomes almost unbearable. Hambrock has crafted a novel that refuses to offer easy answers or comfortable resolutions. Jessamyn St. Germain joins the ranks of literature’s most memorable monsters precisely because her monstrosity feels so recognizably human.
“She’s a Lamb!” serves as a warning about the dangers of magical thinking and the corrosive effects of a society that teaches women their worth depends on external validation. While not always pleasant to read, “She’s a Lamb!” is undeniably powerful—a book that will linger in readers’ minds long after the final, disturbing page.
For readers with strong stomachs and an appetite for unflinching social critique, Hambrock’s latest offers a masterclass in psychological horror disguised as dark comedy. It’s a book that demands to be discussed, debated, and—despite its discomfort—ultimately celebrated for its fearless examination of the monsters that society creates and unleashes upon itself.
- Final Rating: Recommended for mature readers seeking challenging, thought-provoking fiction that doesn’t shy away from difficult truths.
