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THE REMAKING

A memorable, disquieting ghost story about stories, rendered inside a Möbius strip.

After a mother and her daughter are murdered, their legacy evolves into a ghost story that haunts generations.

Horror on film is relatively easy: jump scares, gore, the occasional torture porn, and always the final girls. Horror in fiction is a little trickier, but occasionally you get something special like Mark Z. Danielewski’s puzzle box, House of Leaves (2000), John Ajvide Lindqvist’s Let the Right One In (2007), or, more recently, Josh Malerman’s runaway hit Bird Box (2014). Chapman’s (Nothing Untoward, 2017, etc.) spooky story solidly fits the mold of nothing you’ve ever read before. The book is divided into quarters, each entirely original yet always connected and deeply unnerving. The opener finds an old coot recounting the story of a woman named Ella Loise Ford, known to the small town of Pilot’s Creek, Virginia, to be a witch. The men in the town don’t take kindly to this, and in 1931, they set the woman ablaze, along with her young daughter, Jessica, whose resting place would become the legend known as “The Witch Girl’s Grave at Pilot’s Creek.” Jump forward to 1971, and their story is being made into a B-quality horror film directed by an obsessive filmmaker and starring a young ingénue named Amber who discovers these terrifying woods hold much more than just rumors. By the mid-1990s, Amber, now a burned-out, Klonopin-addicted scream queen, takes over the story to recall her role in an ill-fated remake of the cult classic that nearly killed her. By the modern day, there’s yet another shift, as a budding podcaster named Nate Denison tracks down an aged Amber to discover what’s really waiting out there in the woods. Something like Stephen King’s imperfect masterpiece The Shining (1977), this book is not always completely coherent, but it’s a deeply eerie and evocative portrayal of what it’s like to stare into the abyss and find something there waiting for you.

A memorable, disquieting ghost story about stories, rendered inside a Möbius strip.

Pub Date: Oct. 8, 2019

ISBN: 978-1-68369-153-2

Page Count: 320

Publisher: Quirk Books

Review Posted Online: July 14, 2019

Kirkus Reviews Issue: Aug. 1, 2019

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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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