A sharp, immersive family drama played out against the ravages of war.

Brotherhood of Iron

From the The Castor Family Trilogy series , Vol. 2

Slaughter (Echoes of Distant Thunder, 2011) continues the saga of the Castor family against the backdrop of World War I and the mining industry.

Two generations removed from Will Castor, the haunted veteran of the Civil War’s Battle of Chickamauga, the Castors have become a prominent family in the mining town of Ishpeming, Michigan. When a conflict even greater than the War Between the States breaks out in Europe, two of the Castor boys answer the call: John, a shy, studious young man whom the other Marines call “Teach,” and Matt, a charming rake who’s popular with his fellow soldiers as well as with the farm girls of France. On the home+front, their brother Jacob commits a taboo by asking to marry their adopted sister, Rosemarie. Another brother, Bill, runs off to sail the Great Lakes but descends into a listless life of women and booze. In Ishpeming, their father, Robert, attempts to hold the family together while managing the town’s profitable, if dangerous, mine for a Cleveland-based mining company. As pressures mount at home and abroad, the family members are pressed to the limits of their strength, locked in a struggle against the complex, deadly industry of man. The author again demonstrates a remarkable knack for period details—from contemporary slang and popular dances to the equipment and routines of the mining industry—and a powerful ability to render battlefields in all their terrible, peculiar horror: “Sporadic enemy shells had begun to land close by….They were not the earth-shaking detonations of high explosives; they were the dull thuds of gas shells.” As in the previous novel in the Castor Family Trilogy, the real war here is internal and lasts long after shots have ceased to ring out; it’s fought in the minds of those lucky (or unlucky) enough to survive. With this story, however, Slaughter is able to expand beyond the effects of war on one person to explore their repercussions for an entire family—a clan that holds sacred its responsibility to protect its members from harm.

A sharp, immersive family drama played out against the ravages of war.

Pub Date: N/A

ISBN: N/A

Page Count: -

Publisher: Mission Point Press

Review Posted Online: June 16, 2016

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...

FLY AWAY

Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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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

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