Then, we were wolves, again: the mutable lycanthropy mythos and its challenge to anthropocentrism and androcentric thought

In literature and film, werewolves have gone through an incredibly varied series of portrayals, but, throughout all of their changes (cycling largely between being antagonists and protagonists), werewolves have always interacted with the essentialist concept of the human-animal binary. Mutable at their core, werewolves reflect the people, places, and times of their various manifestations; the werewolf is whatever we need it to be. The fact that werewolves are inherently liminal creatures means that, for the purposes of my thesis' discussion, werewolves can serve as a tool for addressing preconceived notions of human exceptionalism (i.e., anthropocentrism). I question the assumptions of boundaries and socalled human traits with a story about embracing the uncertainty that our classifications and labels seek to efface. Simultaneously, I draw attention to female werewolves to level a concurrent challenge against patriarchal scripts that denigrate the association of human females with non-human animals. Just as many historical portrayals of werewolves reinforce the negative connotations of a woman-animal alignment, so too do contemporary representations of female werewolves become subject to portrayals that reinforce patriarchal values, rather than challenge them. Therefore, my focus is two-fold: to present an alternative narrative (in the form of a theory piece married to a novel) that draws attention to the artificial nature of both anthropocentrism and androcentrism. These two ways of thinking—that humans are inherently more important than animals and that the perspectives of male humans, in particular, trump all other points of view—are inextricably linked in their ideological othering of alternative experiences of being. The female werewolf, an embodiment of both inferior entities, is a well-suited symbol to decentralize dominant patriarchal narratives. Presented herein is my theory piece and the first fifteen chapters of my novel, Then, We Were Wolves, Again. It is a story about a woman who becomes the wolf she was all along and a man who undergoes a transformation but does not change. As a human, the protagonist, Harley, drifted through life like a lone wolf, but now, as an actual werewolf, she struggles to reconcile her instinctual need for her pack with her growing sense of disenchantment with her fellow lycanthropes. Indoctrinated by their leader, Arden, they're convinced of their sovereignty as a superior species to humans, but this new werewolf picks away at the cracks of hypocrisy, revealing the same species-centric thinking the wolves claim to transcend.