Surreal, poetic and unforgettable: a truly original voice.

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SHALLCROSS

In this one-of-a-kind novel, a South Florida man living with hallucinations falls in love and meets danger along the way.

Aubrey Shallcross, 42, “was a respectable businessman in his small town and had learned how to appear normal since grade school, even though he…saw things other people did not”—such as Triple Suiter, a 3-inch-tall, three-piece-suited man who lives in Aubrey’s left armpit. Independently wealthy after selling his car dealership (friends dub him the Anti-Chrysler), Aubrey enjoys hanging out at the Blue Goose and eating conch fritters with old buddies like Punky and The Junior. Over the course of this unique debut novel, he sees some friends die, falls in love, surfs, participates in a cattle roundup, learns the art and discipline of dressage, and undergoes a fearful attack by his girlfriend’s palindrome-obsessed ex-husband. But no plot summary can convey the surreal flavor of Aubrey’s mind and the characters (called “slippers”) who manifest themselves to him. Besides Triple Suiter, a kind of guardian angel, there’s “the tiny Amper Sand, who lived in Trip’s sternum and didn’t speak. To communicate, Amper Sand typed backward letters on Trip’s chest.” The sinister Slim Hand, “rogue slipper, a bad passenger,” always seems to be trying to cram something bad down Aubrey’s throat. Head Wound is “a burlesque overdraft of an abnormal.” In this word-drunk, thickly allusive and poetic novel, characters speak in an at-first confusing mélange of shared jokes and colorful imagery: “Straight over the four-way’s the road to stag-damn-nation….The Head Wound turns left with the angel on that crosspiece, doesn’t he? For the gorgeous left pearls. Finished.” Porter gradually illuminates the significance of these references. Though first-person accounts of schizophrenia usually convey its terror and loneliness, Aubrey’s experience is seldom frightening. His hallucinations are usually creative, helpful, even joyful, and Triple Suiter is touchingly solicitous of him. However bizarre Aubrey’s thought processes might be to outsiders, his inner world is artistically coherent.

Surreal, poetic and unforgettable: a truly original voice.

Pub Date: Aug. 1, 2014

ISBN: N/A

Page Count: 262

Publisher: CreateSpace

Review Posted Online: June 13, 2014

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

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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Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

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THE VANISHING HALF

Inseparable identical twin sisters ditch home together, and then one decides to vanish.

The talented Bennett fuels her fiction with secrets—first in her lauded debut, The Mothers (2016), and now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. Desiree, the “fidgety twin,” and Stella, “a smart, careful girl,” make their break from stultifying rural Mallard, Louisiana, becoming 16-year-old runaways in 1954 New Orleans. The novel opens 14 years later as Desiree, fleeing a violent marriage in D.C., returns home with a different relative: her 8-year-old daughter, Jude. The gossips are agog: “In Mallard, nobody married dark....Marrying a dark man and dragging his blueblack child all over town was one step too far.” Desiree's decision seals Jude’s misery in this “colorstruck” place and propels a new generation of flight: Jude escapes on a track scholarship to UCLA. Tending bar as a side job in Beverly Hills, she catches a glimpse of her mother’s doppelgänger. Stella, ensconced in white society, is shedding her fur coat. Jude, so black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her white persona is a tour de force of doubling and confusion. It calls up Toni Morrison’s The Bluest Eye, the book's 50-year-old antecedent. Bennett's novel plays with its characters' nagging feelings of being incomplete—for the twins without each other; for Jude’s boyfriend, Reese, who is trans and seeks surgery; for their friend Barry, who performs in drag as Bianca. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress.

Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

Pub Date: June 2, 2020

ISBN: 978-0-525-53629-1

Page Count: 352

Publisher: Riverhead

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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