A riveting, fresh interpretation of monsters.
A politician finds herself endangered by a quarrel going back centuries in this engaging supernatural thriller.
This rivalry begins in the American South in 1850. Aaron, an enslaved person, plans to escape the Virginia plantation on which he toils and start a new life in the North. Plans don’t work out for him, however. He’s attacked on the night he escapes and is left for dead by a giant beast. During the attack, the “beast,” a werewolf, changed Aaron into a werewolf. Now nearly invincible, Aaron kills the cruel plantation owner and his wife—vengeance, in part, for whipping Aaron’s beloved mother. Perhaps unwisely, the escapee spares their 8-year-old son, James. Following the Civil War, James becomes a vampire and later leads a clan of all-white vampires, which wars with Aaron’s pack of Black werewolves. Since both groups need to exist in shadows, they agree to a truce: neither will turn victims of the opposite race. This truce holds for decades, until an inexperienced werewolf attacks and turns Ally, a white congressional aide from South Carolina. Aaron stalls while deciding how to handle this unique situation. But the two sides begin slowly but inexorably slipping toward war as the werewolves attempt to protect Ally while the vampires try to kill her. Michel deserves credit for finding a different slant on an overused trope. Usually, vampires are portrayed as highbrow and the werewolves lowbrow, but Aaron’s pack is classy and stylish. Also, injecting racism as the dividing line between two types of monsters is inspired. The long-standing grudge that James holds against Aaron only ramps up the tension. The character who evolves the most is Ally. She starts as a conservative eager to pass a voting-restriction bill. But time spent with Aaron’s pack, as well as peril to her family, impacts her perspective on race and life. Characters other than her and Aaron aren’t as well developed, however. But altogether, this is a fascinating new take on old monsters, one that Michel has set up to continue as a series.
A riveting, fresh interpretation of monsters.Pub Date: Sept. 9, 2024
ISBN: 9798891578814
Page Count: 244
Publisher: Page Publishing, Inc.
Review Posted Online: June 13, 2025
Kirkus Reviews Issue: Aug. 1, 2025
Review Program: Kirkus Indie
Filled with action, violence, and more twists than a bag of pretzels.
Second of the Walter Nash thrillers—following Nash Falls (2025)—in which the remade hero seeks vengeance.
Due to urgent circumstances, Nash has bulked himself up to become the “muscled and tatted fighting machine” now known as Dillon Hope. His antagonist is Victoria Steers, a global drug dealer who wants him dead. Not realizing his new identity, she enlists Hope to free her mother, Masuyo, from a prison in Myanmar. As an incentive, she shoots one of her associates and threatens to frame Hope for the murder unless he complies. She also wants him to find Nash. He in turn wants to kill Victoria to avenge the death of his innocent daughter, Maggie. “If I go down,” he muses, “I’m taking others with me. Starting with Victoria Steers.” He learns that Victoria had killed all her siblings to eliminate business competition. But as heartless as Victoria is, her mother, Masuyo, is even worse. In league with the Chinese government in a perverse plan to kill as many Americans as possible through fentanyl overdose, she shows contempt for Victoria for her perceived weaknesses. Readers won’t find many happy family relationships here: mother-daughter, father-son, husband-wife—all fraught. Hope’s employer, who accompanies him to Myanmar, is a billionaire chief executive with a dodgy past (i.e., probably killed his father). And there’s a mega-billionaire with an astronomical IQ and ditch-deep morals who, putting it mildly, does not have America’s best interests at heart. As a teenager, he’d defeated two world chess champions; as an adult, he regards his dealings with the world in terms of master chess moves. Only one character seems truly decent and credible—Hiroko, Victoria’s former nanny and lifelong companion, who provides Hope with valuable insights into the Steers’ background, which is partly Chinese. Searing grudges, simple evil, and not-so-simple misunderstandings carry the cast through this complex, action-packed plot. This sequel ties out the loose ends dangling in Nash Falls, which would be helpful to read first. To get to the requisite ending, though, Baldacci takes pains to surprise the reader. It works but often feels forced.
Filled with action, violence, and more twists than a bag of pretzels.Pub Date: April 14, 2026
ISBN: 9781538758021
Page Count: 416
Publisher: Grand Central Publishing
Review Posted Online: Feb. 2, 2026
Kirkus Reviews Issue: March 1, 2026
Yes, it has its playfully witty moments, but it’s a distinctly minor work in the author’s brainteasing canon.
Murder disrupts the filming of—what else?—The Word Is Murder, based on the first novel starring author Horowitz and his sometime partner, ex-copper Daniel Hawthorne.
With commendably dramatic timing, gofer Izzy Mays bursts into the middle of a pivotal shot on location at The Stade in Hastings to announce that Hawthorne’s been murdered. Of course, what she means (though Horowitz takes his time clarifying this ambiguity) is that David Caine, the rising star playing Hawthorne, has been fatally stabbed in the neck. Suspicion falls on James Aubrey, the agent Caine had just fired; Izzy, because Caine had caused her to be fired, too, though he ended up making his exit first; Ralph Seymour, the washed-up actor who’d returned from New Zealand to play Horowitz opposite Caine, his mortal enemy; and producer Teresa de León, who’s abruptly lost an important source of funding for the project; director Cy Truman; and screenwriter Shanika Harris, because why not? After Hawthorne builds meticulous hypothetical cases against several of these suspects, provoking Teresa’s apt rejoinder, “All those questions in the script and now you’re asking them for real,” he responds to Horowitz’s theory that he may have been the intended target after all by sharing a story from his early days as a private investigator in what ends up looking like the most elaborately extended red herring in the history of detective fiction. The two plots, past and present—or, to be more precise, past and present-day-adaptation-of-a-story-from-the-less-distant-past, are eventually woven together in ways only Horowitz’s most devoted fans will celebrate.
Yes, it has its playfully witty moments, but it’s a distinctly minor work in the author’s brainteasing canon.Pub Date: April 28, 2026
ISBN: 9780063305748
Page Count: 608
Publisher: Harper/HarperCollins
Review Posted Online: Jan. 19, 2026
Kirkus Reviews Issue: Feb. 15, 2026
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