A striking reminder that today's domesticity is not too far removed from that of the 19th century.

THE EVENING SPIDER

Arsenault (What Strange Creatures, 2014, etc.) immerses readers in the grisly past of a New England town as one modern-day woman is caught in the grip of her home’s history.

In 2014, high school history teacher and new mom Abby Bernacki worries over “odd” happenings in her 19th-century house, such as her baby daughter's mysterious bruise. After consulting with a past owner, Abby obtains a historic resident’s journal and befriends a local archivist, who introduces her to a trove of puzzling artifacts. In 1878, another new mother who lived in the house, Frances Barnett, was ordered to a month’s “rest” in bed to cure her nervous condition. Once she’s out of bed, Frances fakes enthusiasm for domestic tasks while concealing from her husband her obsession with the trial of a gruesome murderer. The historic parts of the novel draw on the tale of a real-life 1879 murder and trial, even including several real New York Times articles that covered the story. Readers will squirm at the courtroom scenes involving a removed and preserved face and experiments with arsenic and donated stomachs. In another bit of historical accuracy, Frances toils in the Northampton Lunatic Hospital in Massachusetts, which at the time turned a profit on the work of its residents. The novel consists of three threads: Abby's 2014 perspective, where she reads notes Frances kept in a cooking journal in 1878; Frances' mental-hospital monologue to her visiting brother in 1885; and the 1998 death of a college student in Abby’s dorm. The college thread is minimally developed and seems incidental, until it ties in as the foundation of an emotionally satisfying ending. Abby’s and Frances’ mirrored stories are the stars of the show; despite their very different circumstances, both women are humbled by the pressures of new motherhood before they find empowerment in the hunt for justice.

A striking reminder that today's domesticity is not too far removed from that of the 19th century.

Pub Date: Jan. 26, 2016

ISBN: 978-0-06-237931-3

Page Count: 368

Publisher: Morrow/HarperCollins

Review Posted Online: Nov. 5, 2015

Kirkus Reviews Issue: Nov. 15, 2015

Did you like this book?

No Comments Yet

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

Reader Votes

  • Readers Vote
  • 77

Our Verdict

  • Our Verdict
  • GET IT

  • New York Times Bestseller

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

Did you like this book?

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.

Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Pub Date: April 24, 2018

ISBN: 978-1-5011-5464-5

Page Count: 368

Publisher: Atria

Review Posted Online: Feb. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

Did you like this book?

more