A funny and surprisingly thorough tour of the problems of sore, dry eyes—and possible ways to fix them.



A debut graphic novel details the origins, nature, and potential treatments for dry eyes.

Vallely’s book is about as unconventional an example of a personal health manual as any reader is likely to encounter. The guide is a full-color, graphic-novel overview of the medical condition of dry eye, narrated by an animated talking eyeball. The author warns his readers repeatedly that he’s not a medical professional (“After all, the advice has been given by a talking eyeball,” he deadpans. “Consider yourself warned”). But he is a working cartoonist who’s suffered from dry eye himself and gone through the process of understanding this condition, for which there is no permanent cure, and dealing with it successfully. His goal in these pages is to present his findings “in plain English with hardly any technical jargon” (“Because eyeballs can’t pronounce big words”). The quick, compulsively readable chapters take the audience through every step of the world of dry eye: what it is, the biology of the body’s eye hydration, and the various methods to treat the condition (as the talking eyeball sternly says at this point, “I’m still not a doctor”). Assorted kinds of eye drops, gels, and packs are discussed in detail, with their strengths and potential drawbacks carefully and evenhandedly assessed. The book’s main concentration is dry eye, but Vallely expands his inquiry to include eye strain of all kinds—which broadens the book’s prospective audience to pretty much everybody, because, as the talking eyeball points out, “when it comes to high-energy colors fryin’ your eyeballs, it’s hard to top computers!” (Unfortunately, nearly everyone uses backlit screens.) Even largely anecdotal remedies like flaxseed oil, omega-3 fatty acids, and even, counterintuitively, coffee are investigated, and all of it is handled with a great deal of intelligence and plenty of wonderful moments of snarky humor, both verbal and visual. Anyone who’s ever had eye problems should find this guide both delightful and intriguing.

A funny and surprisingly thorough tour of the problems of sore, dry eyes—and possible ways to fix them.

Pub Date: Sept. 24, 2018


Page Count: 56

Publisher: Dog Ear Publisher

Review Posted Online: May 29, 2018

Kirkus Reviews Issue: July 15, 2018

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


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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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.


Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.

Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Pub Date: April 24, 2018

ISBN: 978-1-5011-5464-5

Page Count: 368

Publisher: Atria

Review Posted Online: Feb. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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