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THE RETURN OF HALF-SOMETHING

A protagonist of conviction braves discrimination and a potentially dangerous corporation.

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A New Yorker of mixed heritage believes his destiny lies in his African ancestral homeland in this dramatic novel.

In 1993, 17-year-old Emmanuel’s father, Uchechi, tells him that his destiny awaits him in the African kingdom of Umuati. Uchechi believes his American son will somehow need to help Umuati battle injustice and oppression and that failure to do so will curse Emmanuel. A decade later, Emmanuel resides in Manhattan with a Ph.D. from Columbia Law School but still hasn’t visited Umuati. He falls for Rebecca Levitt, who’s vice president at her father Reuben’s brokerage firm, Peak Management Group. Emmanuel even takes a job at the firm to get close to Rebecca. But Reuben disapproves of their inevitable romance, primarily because Emmanuel, who’s biracial, isn’t Jewish like the Levitts. Emmanuel fights for the chance to marry Rebecca and, soon after, finds a way he can assist Umuati. An oil-field explosion there has resulted in fatalities and a devastating oil spill. Emmanuel calls Umuati’s regent and offers, pro bono, to file a lawsuit against the company responsible, Sooli Oil. This entails finally traveling to Umuati, where Emmanuel surprisingly faces some resistance. After the evidence he has gathered inexplicably vanishes, Emmanuel and others learn there may be a spy working for Sooli, which ultimately leads to murder and a kidnapping. But it’s the opportunity to move to Umuati that presents Emmanuel with his greatest challenge, as Rebecca’s refusal to leave her U.S. home may threaten their prospective future together. Emmanuel’s convincing motivations propel Eze’s (Leadership Stories of Mother Hen, 2012, etc.) engrossing, character-driven story. For example, destiny plays a large role in the protagonist’s decisions, be it pursuing Rebecca or coming to the aid of Umuati. This stems from Uchechi’s forecasting his son’s fate and possible curse; just days later, Emmanuel tragically lost both parents in a storm-related boating accident. Similarly, he has thrived academically in spite of the discrimination he faced from school bullies calling him half-breed or “merboy” (half fish, half boy). Emmanuel later overcomes adversaries in Umuati who see him as an outcast. He has an Umuati name, Nkemefuna, and knows the language but is unfamiliar with the culture. The first third of the novel centers on Emmanuel’s growing relationship with Rebecca. It’s a rewarding subplot, though some of his behavior is more obsessive than romantic. For instance, when she seems reluctant to further the relationship, Emmanuel asks his cousin Anna to befriend Rebecca. He’s certain that the friendship will help him win Rebecca. Regardless, his sweet words to her are often charming: “If I ever live this life again, let it always be with you, my love.” The plot shift to the lawsuit adds tension and suspense. Individuals opposing the suit put Emmanuel in unmistakable peril, but the courtroom scenes are intense as well, as the protagonist fights a multibillion-dollar company. Female characters are strong, particularly Anna, who, in a flashback, doesn’t hesitate to warn a sexist, racist biker against calling her a “bitch.”

A protagonist of conviction braves discrimination and a potentially dangerous corporation.

Pub Date: N/A

ISBN: N/A

Page Count: 304

Publisher: SEVHAGE

Review Posted Online: Nov. 30, 2018

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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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  • New York Times Bestseller

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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