A suspenseful but tender tale that exemplifies the power of intersectionality.
Themes of environmental justice, queer love, and Indigenous rights intersect in González’s mystery.
Mariana and Luisa Sánchez Celis grew up in a household with a mother disabled by a stroke, their uncle Alonso, and caretaker Amalia. The novel, set in 1990 and 1991, filters the events of the story through the colorism, racism, and patriarchy of their society as 22-year-old Mariana falls in love with Fernanda, an Indigenous Seri woman who’s passionate about protecting the turtles of the Sinaloa coast from extinction. After leaving Mexico to attend Juilliard, Mariana returns to find that Alonso has gone missing, and anti-poaching laws are harming local fisherman while industrial development hurts the wildlife and beaches. She, Luisa, Fernanda, and others start a business to preserve the livelihoods of locals while speaking up against powerful family friends. As the mystery of Alonso’s disappearance is resolved, a truth about Mariana is revealed. The second part of the novel focuses on Clavel Celis Coulson, Luisa and Mariana’s mother, as a high-society 16-year-old forced to marry a man twice her age; Amalia’s dark past also comes to light. The final part ties up a mystery while exploring themes of family conflict and queer relationships. González’s characters feel simultaneously archetypal and individual. On one level, they represent changing attitudes of various segments of Mexican society from the 1970s to the 2000s—enthusiastic, money-hungry land developers; an Indigenous conservationist; and an uncomfortable elite clinging to traditionalism. Yet the first-person perspectives of Mariana and Clavel showcase the specific desires, hopes, and dreams of each person as they try to find their place in a complex and dynamic social setting. González shines at exploring the effects of racist discrimination against Indigenous Mexicans without ever reducing characters to mere pawns. Her prose style is simple yet poignant and emotive, particularly when describing human desire and natural beauty: “Nothing relaxed me more than Bach combined with the aromas of the ocean and the sight of beauty. If only music could bend life to its rules.” González's closing notes provide the story’s critical real-world origins.
A suspenseful but tender tale that exemplifies the power of intersectionality.Pub Date: May 10, 2022
ISBN: 978-1-947976-31-3
Page Count: 236
Publisher: Cynren Press
Review Posted Online: June 24, 2022
Kirkus Reviews Issue: Aug. 15, 2022
Review Program: Kirkus Indie
Fresh and upbeat, though not without flaws.
An earnest grad student and a faculty member with a bit of a jerkish reputation concoct a fake dating scheme in this nerdy, STEM-filled contemporary romance.
Olive Smith and professor Adam Carlsen first met in the bathroom of Adam's lab. Olive wore expired contact lenses, reducing her eyes to temporary tears, while Adam just needed to dispose of a solution. It's a memory that only one of them has held onto. Now, nearly three years later, Olive is fully committed to her research in pancreatic cancer at Stanford University's biology department. As a faculty member, Adam's reputation precedes him, since he's made many students cry or drop their programs entirely with his bluntness. When Olive needs her best friend, Anh, to think she's dating someone so Anh will feel more comfortable getting involved with Olive's barely-an-ex, Jeremy, she impulsively kisses Adam, who happens to be standing there when Anh walks by. But rumors start to spread, and the one-time kiss morphs into a fake relationship, especially as Adam sees there's a benefit for him. The university is withholding funds for Adam's research out of fear that he'll leave for a better position elsewhere. If he puts down more roots by getting involved with someone, his research funds could be released at the next budgeting meeting in about a month's time. After setting a few ground rules, Adam and Olive agree that come the end of September, they'll part ways, having gotten what they need from their arrangement. Hazelwood has a keen understanding of romance tropes and puts them to good use—in addition to fake dating, Olive and Adam are an opposites-attract pairing with their sunny and grumpy personalities—but there are a couple of weaknesses in this debut novel. Hazelwood manages to sidestep a lot of the complicated power dynamics of a student-faculty romance by putting Olive and Adam in different departments, but the impetus for their fake relationship has much higher stakes for Adam. Olive does reap the benefits of dating a faculty member, but in the end, she's still the one seemingly punished or taunted by her colleagues; readers may have been hoping for a more subversive twist. For a first novel, there's plenty of shine here, with clear signs that Hazelwood feels completely comfortable with happily-ever-afters.
Fresh and upbeat, though not without flaws.Pub Date: Sept. 14, 2021
ISBN: 978-0-593-33682-3
Page Count: 384
Publisher: Berkley
Review Posted Online: July 27, 2021
Kirkus Reviews Issue: Aug. 15, 2021
PERSPECTIVES
BOOK TO SCREEN
BOOK TO SCREEN
Enough clues, red herrings, and false endings to make readers feel that the Orient Express has put out to sea.
A luxury liner bound for New York in 1924 becomes the scene of a twisty golden age pastiche.
When an unnamed third-class passenger discovers the body of an elderly man at the bottom of an exterior flight of stairs aboard the Endeavour, Capt. McCrory insists it must be an accident. But James Temple, a Scotland Yard detective who just happens to be aboard, says that no one would have ventured to the outdoor steps in the rain without a coat, so the death should be treated as suspicious. Unable to stop Temple from investigating, McCrory assigns ship’s officer Timothy Birch to accompany him, and Birch promptly becomes the world’s most unwilling Dr. Watson, constantly battling Temple over theories and procedures. Anxious that they have only four days to find a potential killer before the ship docks and lets its 2,000 passengers roam free in New York, he’s especially infuriated at the leisurely pace marked by Temple’s bromide, “Facts before witnesses.” There’s reason to sympathize with Temple, because the suspects in first and second class (the only classes that matter in this ultra-class-conscious world) are cardboard cutouts—the successful banker, his trophy wife, the aspiring artists, the gallery owner—who are much less interesting than the secrets they’re hiding. In his most anachronistic development, author Hindle shows Birch, unlike the imperturbable sidekicks he echoes, sunk in grief over his vanished daughter, Amelia, and his estranged wife, Kate, who left him after Amelia disappeared during one of his ocean voyages. He’d do anything to get his daughter back, he tells Temple, and his determination leads to the biggest surprise of all.
Enough clues, red herrings, and false endings to make readers feel that the Orient Express has put out to sea.Pub Date: Sept. 29, 2026
ISBN: 9798217185740
Page Count: 464
Publisher: Dutton
Review Posted Online: July 20, 2026
Kirkus Reviews Issue: Aug. 15, 2026
© Copyright 2026 Kirkus Media LLC. All Rights Reserved.
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