Overstuffed—just how some fans like it.
When a mysterious zombie virus threatens the world, it’s up to teenage “love zombies” to stop it.
San Diego teenager Josh is a dead “love zombie” who kills bad zombies; he also quotes Jesus, Nietzsche and Jung. In his first-person narrative with hints of pedantry, Josh surmises that the zombie virus spread quickly because the no-taxes government shredded the social safety net, leading to “open class warfare.” “[T]he dead virus was the ultimate catastrophe to hit us in our dens of poverty,” he says. Greedy agribusinesses, pollution, genetic engineering, the Iraq War, Mexican drug cartels, a mad scientist and a love zombie Bill of Rights mix into the tale of the walking dead. When it comes to gross-out, graphic violence, Musgrave supplies enough jugular-ripping, entrails-feasting carnage to satisfy any fan of the genre. There are ample weaponry details, too, from kosher slaughtering knives to a sword “modeled after the ancient falcata used by Iberian mercenaries.” Yet there’s also leavening humor, as well as unexpectedly resonant, emotional moments: When Josh drives a car and feels the steering wheel “smooth in my hands,” he says, “You don’t know what it means for us undead to be able to do something so human. I felt like I was one step closer, as Pinocchio would say, to being a real boy.” In this humorous, at times overdone gorefest for young adults, less could be more: A football game is played with metal batons, truncheons and Tasers; and drone zombies drop their pants in service to an enormous half-human, half-bee, egg-laying zombie queen. The professorial tone can also be an intermittent distraction: Do readers need to be told that Frank Baum was the author of The Wizard of Oz and that he called a La Jolla sea cave “Sunny Jim” after “a cartoon mascot” for a 1920s-era cereal? Still, the love zombies’ satisfying triumph reaches icky levels of bloodletting that fans of the genre will appreciate. A vampire sequel looms on the horizon.
Overstuffed—just how some fans like it.Pub Date: June 26, 2012
ISBN: N/A
Page Count: 117
Publisher: Amazon Digital Services
Review Posted Online: Sept. 11, 2012
Kirkus Reviews Issue: Oct. 15, 2012
Review Program: Kirkus Indie
Downbeat but often engaging poems and stories.
A slim volume of largely gay-themed writings with pessimistic overtones.
Poe (Simple Simon, 2013, etc.) divides this collection of six short stories and 34 poems into five sections: “Art,” “Death,” “Relationship,” “Being,” and “Reflection.” Significantly, a figurative death at the age of 7 appears in two different poems, in which the author uses the phrase “a pretended life” to refer to the idea of hiding one’s true nature and performing socially enforced gender roles. This is a well-worn trope, but it will be powerful and resonant for many who have struggled with a stigmatized identity. In a similar vein, “Imaginary Tom” presents the remnants of a faded relationship: “Now we are imaginary friends, different in each other’s thoughts, / I the burden you seek to discard, / you the lover I created from the mist of longing.” Once in a while, short story passages practically leap off of the page, such as this evocative description of a seedy establishment in Lincoln, Nebraska: “It was a dimly lit bar that smelled of rodent piss, with barstools that danced on uneven legs and made the patrons wonder if they were drunker than they thought.” In “Valéry’s Ride,” Poe examines the familial duties that often fall to unmarried and childless people, keeping them from forming meaningful bonds with others. In this story, after the double whammy of Hurricanes Katrina and Rita hits Louisiana, Valéry’s extended family needs him more than ever; readers will likely root for the gay protagonist as he makes the difficult decision to strike out on his own. Not all of Poe’s main characters are gay; the heterosexual title character in “Mrs. Calumet’s Workspace,” for instance, pursues employment in order to escape the confines of her home and a passionless marriage. Working as a bookkeeper, she attempts to carve out a space for herself, symbolized by changes in her work area. Still, this story echoes the recurring theme of lives unlived due to forces often beyond one’s control.
Downbeat but often engaging poems and stories.Pub Date: Nov. 16, 2015
ISBN: 978-1-5168-3693-2
Page Count: 120
Publisher: CreateSpace
Review Posted Online: March 5, 2016
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
A volume of poetry that shines when focused on the author’s experiences of race and culture.
A collection speaks in part to the poet’s Mexican-American heritage.
In these multifaceted poems, Mexico-born, Houston-raised Salazar (Of Dreams and Thorns, 2017) explores general human themes like love and war in addition to specific experiences as a person of color. The book begins with a sensual meditation on desire, featuring luscious descriptions of a lover, from lips “moist like youth” to the body’s “softest velvet” slopes. The poems shift to odes to cultural icons like the Tejano star Selena and Mexican-German painter Frida Kahlo as well as occasion pieces honoring his brother’s 40th birthday and a friend’s mother’s memorial service. The author hits his stride when he delves into identity. In “I Am Not Brown,” he contemplates the societal implications of skin tone and his inability to fit into the rigid category of Caucasian or Latino. “For white and black and brown alike / Are slaves to history’s brush strokes,” he writes. “Grateful for the Work,” perhaps Salazar’s loveliest poem, catalogs the day of a laborer, starting with an early morning awakening and following him as he toils in 100-degree heat, enjoys tacos from his lunch pail, buys beverages from a child’s lemonade stand, and returns home to an equally hard-working wife. The author then makes an abrupt turn toward Syria in a series of poems that condemn that country’s president, Bashar Hafez al-Assad. They serve as a rallying cry for Syrians and grieve for the murdered masses. Salazar’s closing poem, “Sons of Bitches,” is a clunky rant about a 20-year-old immigrant shot in the head by a U.S. Customs and Border Patrol agent. The gratuitous violence and political theologizing are ill at ease with the intimate, personal experiences that preceded them, such as the fablelike “A Mexican is Made of This,” in which Salazar beautifully describes the “rainbows, bronze, backbone, butterflies” that his people embody.
A volume of poetry that shines when focused on the author’s experiences of race and culture.Pub Date: Aug. 1, 2018
ISBN: 978-0-9991496-3-8
Page Count: 166
Publisher: Bronze Diamond Productions
Review Posted Online: Sept. 27, 2018
Review Program: Kirkus Indie
BOOK REVIEW
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