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THE CONSEQUENCE OF WAR

A memorable tale of a violent man seeking to heal himself.

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Oldham introduces a veteran-turned-vigilante in this gritty debut crime novel.

It’s been two years since Elijah McCoy got home from the war in Afghanistan, but he hasn’t been at peace. Living in a hidden apartment in the back of a friend’s warehouse, Elijah works as a union stevedore on the Oakland, California, docks by day while plying a second, secret trade at night. The dock foreman calls him an “executioner,” though Elijah prefers the term “redeemer,” as he secretly helps innocent people to rid themselves of abusers, stalkers, or worse. Initially, Elijah tried not to use too heavy a touch in his work, but when he intervenes in a hate crime and accidentally kills one of the assailants, he finds himself surprised by just how good the act of murder makes him feel. What’s more, the killing seems to fit right in with his recurring nightmare, in which he finds himself inside the chest cavity of a dying man. Elijah’s friend and fellow veteran Juno thinks that Elijah has PTSD and recommends a psychiatrist; indeed, when another “redeemer” job ends in an unnecessary death, Elijah starts to see apparitions and hear voices that encourage him to give in to his dark side. Through Phillip Statham, a gay man whom Elijah rescues from a hate crime, he meets Rick Vargas, an understanding businessman with a sympathetic ear. Rick attempts to help Elijah escape from his own demons, but they may prove to be too much for anyone to overcome. Pathos-laden vigilantes are always intriguing, of course, and in this novel, Oldham has created one who’s a tangle of unresolved trauma. The author writes in a muscular prose befitting his imposing protagonist (“the world was at war; a war against evil, against one another. Everyone was a soldier, some just weren’t aware of it”), although, like Elijah, it softens during more reflective moments: “Rick reached over and put his hand on Elijah’s arm. Elijah flinched but didn’t move away. He felt warmth running up his arm.” The novel’s succinct chapters and quick pacing make the pages fly by even as the point of view jumps between Elijah and the various other characters involved in his escapades. Some aspects of Elijah’s life can sometimes seem far-fetched—for a violent loner, he sure knows a lot of people who are willing to help and speak highly of him. However, there’s something that is inherently compelling in the story of this man who’s maladapted to civilian life. In addition, his unexpected romantic tension with Rick adds another layer of intrigue as Oldham explores their same-sex relationship. Genre tropes abound, and some of the supporting characters feel a bit stock, but the author does manage to find a suitable antagonist for Elijah in the form of a satanic biker gang. Occasionally heavy and always grim, this story may not be everyone’s brand of escapism, but it should please many fans of antihero-driven crime fiction.

A memorable tale of a violent man seeking to heal himself.

Pub Date: Sept. 7, 2017

ISBN: N/A

Page Count: 370

Publisher: CreateSpace

Review Posted Online: Aug. 31, 2017

Kirkus Reviews Issue: Oct. 1, 2017

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DEVOLUTION

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

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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. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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IT ENDS WITH US

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

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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 30, 2016

Kirkus Reviews Issue: June 15, 2016

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