Sometimes droll but persistently earnest tales that scrutinize the reputed baddies.

FRIDAY'S BAR FOR SUPERVILLAINS

Brunner’s debut is a collection of interlinked stories revolving around patrons and employees of a bar catering to supervillains.

After a day of lawbreaking and battling superheroes, many of the villains of Titan City head to Friday’s Bar. It’s a sometimes rowdy place for villains to unwind, which is why owner/bartender JJ (ex-villain Joe Friday) doesn’t allow superheroes inside. Whip-smart waitress Georgia and likable, simple-minded bouncer Edward are also former villains whose pasts occasionally surface. Georgia’s powerful, recently imprisoned ex shows up unexpectedly in “Theories of General Relativity,” and Edward gets an unwanted reunion with his old crime boss’s son in “Along Came a Painter.” Friday’s fresh hire, Gil, however, aspires to be the villainous Seaguller despite JJ’s attempts to talk some sense into him. Other stories feature a relatively unknown superhero who manages to gain access to the bar as well as a reporter looking for a scoop. A supervillain known as the Mandroid, who recurs throughout, headlines the hilarious “Poker Night,” in which his subpar poker skills disguise a secret agenda. Brunner’s collected tales are generally lighthearted, particularly in their depictions of vibrant villainous characters like Friar Freeze and Quiz Master (who speaks only in rhymes). JJ and his employees narrate most of the stories in this book, which has a welcome variety of villains, not merely in their abilities but in their personalities: Some are vicious while others are seemingly hapless. Notwithstanding its humor, the book’s more sincere moments are its most memorable. JJ, for example, reminisces about his lost love and villainous cohort, Charly, in “One of Those Days.” The bar owner, similarly, acts as a mentor to Gil, which is a theme until the end. With that in mind, readers may best enjoy the collection by reading the stories chronologically. Meanwhile, Roehling’s (Wasteland Vol. 8, 2013, etc.) masterful artwork complements the book’s sharp characterizations. The illustrator’s heavy use of shadows makes for a dingy Friday’s but also spotlights the patrons, whose outfits, body shapes, and even facial expressions are discernible and distinctive.

Sometimes droll but persistently earnest tales that scrutinize the reputed baddies. 

Pub Date: March 30, 2018

ISBN: N/A

Page Count: 133

Publisher: Self

Review Posted Online: Dec. 26, 2019

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A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

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DEVOLUTION

Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z (2006).

A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

Pub Date: June 16, 2020

ISBN: 978-1-9848-2678-7

Page Count: 304

Publisher: Del Rey/Ballantine

Review Posted Online: Feb. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of...

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IT ENDS WITH US

Hoover’s (November 9, 2015, etc.) latest tackles the difficult subject of domestic violence with romantic tenderness and emotional heft.

At first glance, the couple is edgy but cute: Lily Bloom runs a flower shop for people who hate flowers; Ryle Kincaid is a surgeon who says he never wants to get married or have kids. They meet on a rooftop in Boston on the night Ryle loses a patient and Lily attends her abusive father’s funeral. The provocative opening takes a dark turn when Lily receives a warning about Ryle’s intentions from his sister, who becomes Lily’s employee and close friend. Lily swears she’ll never end up in another abusive home, but when Ryle starts to show all the same warning signs that her mother ignored, Lily learns just how hard it is to say goodbye. When Ryle is not in the throes of a jealous rage, his redeeming qualities return, and Lily can justify his behavior: “I think we needed what happened on the stairwell to happen so that I would know his past and we’d be able to work on it together,” she tells herself. Lily marries Ryle hoping the good will outweigh the bad, and the mother-daughter dynamics evolve beautifully as Lily reflects on her childhood with fresh eyes. Diary entries fancifully addressed to TV host Ellen DeGeneres serve as flashbacks to Lily’s teenage years, when she met her first love, Atlas Corrigan, a homeless boy she found squatting in a neighbor’s house. When Atlas turns up in Boston, now a successful chef, he begs Lily to leave Ryle. Despite the better option right in front of her, an unexpected complication forces Lily to cut ties with Atlas, confront Ryle, and try to end the cycle of abuse before it’s too late. The relationships are portrayed with compassion and honesty, and the author’s note at the end that explains Hoover’s personal connection to the subject matter is a must-read.

Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of the survivors.

Pub Date: Aug. 2, 2016

ISBN: 978-1-5011-1036-8

Page Count: 320

Publisher: Atria

Review Posted Online: May 31, 2016

Kirkus Reviews Issue: June 15, 2016

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