A mix of murder and magic in the Florida sunshine as only Hoffman (Seventh Heaven, 1990, etc.) could conjure it. Verity, Florida, once known for live alligators, is now better known for alligator salads (a mix of spinach, peppers, avocado and chopped eggs, tinted green), as well as for having more divorced women from New York than any other town in the state of Florida. Lucy Rosen is one of those women. She has recently moved to Verity, and what she doesn't know yet is that in May, when the turtles come out and crawl across the roads, anything can happen. People go crazy. Dogs bite. Ficus hedges burst into flame. This particular May, a woman in Lucy's condo complex is murdered, her baby is missing, and Lucy's own son, Keith, has vanished as well. With the assistance of Julian Cash, a reclusive Verity policeman, Lucy sets out to find out who committed the murder and what has become of the missing children. The fact that the ultimate resolution of these mysteries is only partly plausible doesn't really matter in the end. Bemuse Hoffman's strength is that she deals in dreams. She knows all about the everyday things that defy simple explanations--lovers who suddenly turn cold, turtles who mistake streetlights for the moon. The Florida she paints here is not the one promoted by any chamber of commerce. With a climate that is both mesmerizing and malignant, it is a place where dragonflies' wings catch fire and strangler plums drop down from trees, leaving dents in parked cars. It is a place where rattlesnakes crawl into telephone booths and angels lurk outside the Burger King. It's a place where anything might happen. And, naturally, it does. Pure Hoffman: her take on the tropics is haunting hypnotic, and hot as a fever dream.