An enthusiastic engagement of Austen’s juvenilia that will be of interest to her very devoted fans.

Love and Freindship and Other Delusions

A reimagined version of Jane Austen’s 1790 novella Love and Freindship [sic] complements this partial collection of Austen’s early works.

Andrews’ (The Unforgiving Eye, 2014, etc.) expansion of Austen’s early epistolary tale begins with a new frame story, narrated by a woman named Marianne. In Austen’s original, Marianne only serves as a device to prompt her mother’s friend Laura Lindsay to disgorge a tale of her own bizarre life. Andrews wisely draws Marianne as a fuller character—curious, skeptical, and circumspect—who’d be very much at home in a later Austen novel. (For example, Marianne struggles with doubts about her upcoming marriage.) The story then shifts to the main plot of Austen’s original story, focusing on Laura’s recounting of her youth, starting with her first encounter with her husband, Edward Lindsay. When they meet, Edward is horrified by the idea of marriage to Lady Dorothea, who’s “wealthy and titled” and, worse, meets with his father’s approval. After he and Laura marry instead, their travels take them first to the home of Augustus and Sophia, a young couple who share their devotion to romance and opulence. Laura’s story progresses with absurd coincidences—she meets her never-before-seen grandfather and a few cousins in a single chance encounter—and dramatic turns from which she draws misguided conclusions. Many passages are near verbatim from Austen’s original text, but Andrews’ humor is broader; the expanded tale is peppered with jokes, including one about the house of a family called the MacDonalds, which features “golden arches,” and an allusion to Bridget Jones’s Diary. There are times when this heightened jokiness pays off, as in Laura’s repeated clarification to the widowed Sophia that her own husband lives while “Augustus is still dead.” The rest of the volume consists of Austen’s original text of Love and Freindship and other works of juvenilia. These display Austen’s vacillations between satirical impulses and the psychological observations of her mature writing. However, this section would have benefited from editorial notes; it’s hard not to suspect when reading a long, winking section, for example, on “the art of cutting a slice of cold Beef,” that one is missing a joke.

An enthusiastic engagement of Austen’s juvenilia that will be of interest to her very devoted fans.

Pub Date: N/A

ISBN: N/A

Page Count: -

Publisher: Crowood Press

Review Posted Online: Nov. 29, 2016

Kirkus Reviews Issue: Jan. 1, 2017

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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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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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