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PROSE AND CONS

A kaleidoscopic escapade with a resilient and uniquely addictive pair of characters.

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A stimulating spectacle of crime and interpersonal melodrama in which two very different writers’ paths cross with unexpected results.

Brooklynite co-authors Katz and Starr conjure the thrills and machinations of the writing life in a story of two characters who collaborate and commingle their talents and aspirations. The story opens in 2010—a time of war, soaring unemployment, and a crumbling housing market. Young writer and former Californian Kia Kuniya navigates Manhattan’s unforgiving job market, hunting for gainful employment, while also taking care of a pet bunny named Monsieur Floppy. With the determination of a true city slicker (“My unlimited MetroCard is the closest thing I have to a superpower”), she manages to land a job in a coffee shop, but she’s assaulted by a diminutive, gap-toothed attacker on her way to her first shift. Kia’s knight in shining armor materializes in the form of Dylan Miller, who swoops in and rescues her from being beaten up on the sidewalk. Dylan is a writer, as well, and he and Kia quickly hit it off despite the unconventional circumstances of their meeting—and the fact that he might have killed her attacker after fending him off. Dylan proves to be a marijuana-smoking egocentric whose love-hate rants about the city are as epic and unbelievable as his history as a multiple widower. Still, he and Kia share a jovial attraction, particularly after Kia returns to Dylan’s basement apartment, after recuperating, to show him the illustrated story that she wrote about the shocking ordeal. Katz and Starr show how each character recognizes the drive, creativity, and true talent in the other. Kia and Dylan soon become “partner[s] in prose” and begin penning new stories as romantic sparks fly between them. Kia eventually moves into Dylan’s subterranean abode, and their cohabitation inspires an exchange of personal histories, including Dylan’s admittance of residual psychological trauma from the events of 9/11. Over the course of the novel, both characters play off each other well, and their personalities amiably suit the narrative tone; also, both become engrossed in the many pleasures and pains of the creative writing process, which will delight readers who are also authors. Throughout the book’s second half, as Kia and Dylan’s quirky story matures, Dylan’s past cruel shenanigans and untruths are exposed, which leads to unpleasant consequences for the hopeful scribe. Katz and Starr’s collaborative prose is fast-paced throughout the novel—wonderfully character-driven and consistently clever. They also offer memorable descriptions, such as of eager baristas approaching with “double espresso enthusiasm” or of someone ranting with the “lung capacity of a scuba diver.” The authors know New York well, and they describe its percolating energy, rushing street traffic, and weathered population with gritty realness. In the novel’s conclusion, the law catches up to Dylan, leading to a confession of intent to pen a multivolume series of sequels, which should please readers who aren’t quite ready to say goodbye to this dynamic duo.  

A kaleidoscopic escapade with a resilient and uniquely addictive pair of characters.

Pub Date: N/A

ISBN: N/A

Page Count: 337

Publisher: Time Tunnel Media

Review Posted Online: May 1, 2019

Kirkus Reviews Issue: June 1, 2019

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  • New York Times Bestseller

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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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THE SILENT PATIENT

Amateurish, with a twist savvy readers will see coming from a mile away.

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A woman accused of shooting her husband six times in the face refuses to speak.

"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.

Amateurish, with a twist savvy readers will see coming from a mile away.

Pub Date: Feb. 5, 2019

ISBN: 978-1-250-30169-7

Page Count: 304

Publisher: Celadon Books

Review Posted Online: Nov. 3, 2018

Kirkus Reviews Issue: Nov. 15, 2018

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