Alan Baxter's 2020 novella 'The Roo', which began as a social media joke in response to an article about an aggressive garden-eating Kangaroo, is a slasher-horror, self-described "gonzo" narrative. Unsurprisingly, gore and conflict are prominent fixtures in 'The Roo', and they quickly form a rhythm, a pattern of violence. The disruptive violence of the text, along with several of its other generative elements, constitute the text’s 'Stimmung'. A reading for 'Stimmung' uncovers the capacities to which the novella can affectively engage with readers, by means of its genre play, performative efficiency, and especially its violent resonances. My close reading reveals the extent to which 'The Roo' takes up and takes on different forms of violence, whether it resonates with Rob Nixon’s conception of slow violence or what Slavoj Žižek refers to as performative efficiency. The novel's cycles of violence put center stage the links between domestic abuse and rural dispossession. The article attunes to and consolidates these conceptions of violence and 'Stimmung' to gesture toward key elements producing presence and aesthetic experience, drawing from the scholarship of Rita Felski and Hans Ulrich Gumbrecht, amongst others.