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MISTER BIG

A NOVEL

An elaborate but uneven social novel about the rise and fall of an underprivileged athlete.

A good-natured black football player tries to make it in a duplicitous world.

In this novel, DeShawn Biggs is as formidable as his name suggests. At 6-feet-5-inches and 300 pounds, DeShawn seems headed for the NFL. Indeed, a football career is regarded as an inevitability for the young man in his native Albany. While most NFL–bound seniors head off to play college ball after they leave high school, DeShawn’s abysmal math grades—and the fact that his parents can literally no longer afford to feed him—result in the giant lineman attending an elite Connecticut prep school for “grade thirteen.” After an emotional farewell to his parents, who are purposefully removing themselves from his life for good—“You’ve got to use your God-given talents to make a life for yourself,” says his father, “and you cannot do that with your mother and me in the way of that life”—DeShawn is left alone among the white, wealthy student body. Sticking out like a large sore thumb, DeShawn attempts to walk the fine line between what is expected of him and what will not be tolerated. A cheating scandal gets him expelled but not before he secures a place at Montgomery Southern A&M, a football power that will set him up to advance to the NFL. DeShawn eventually gets his shot at the big leagues, but his trusting nature and penchant for making bad decisions dog him throughout his career. Each time, the stakes get higher. DeShawn has always been a pawn in a game controlled by other people, but how much of his own integrity can he compromise in order to get ahead? Havel (An Adjunct Down, 2016, etc.) writes in a simple, direct prose that deftly mimics the thoughts of his protagonist: “He couldn’t let anyone know, and if any of his teammates questioned him about liking a white woman over a black woman, he would bite his tongue and not reveal this somewhat impossible scenario—that a white woman could love him.” DeShawn’s story works in the tradition of the social novel, boldly tackling issues of racism, power structures, and the murky morality of American football. Like his near-namesake, Bigger Thomas, DeShawn is a cog in a system built to use him, not to help him. That said, Havel’s novel is far less successful than Richard Wright’s Native Son in weaving its issues into a compelling narrative. The book is almost comically overlong at nearly 900 pages, loaded with scene after scene that reiterates established information without delving deeply into the psyche of any of its characters. DeShawn’s inner workings never receive the attention that his physical size does, and no other character manages to leave a lasting impression. Odd and unnecessary narrative choices, like DeShawn’s inexplicable abandonment by his parents, erode the verisimilitude of the story. Havel’s aims are ambitious, and the issues he broaches are very real, but this book is too flat to live up to those lofty goals.

An elaborate but uneven social novel about the rise and fall of an underprivileged athlete.

Pub Date: N/A

ISBN: N/A

Page Count: 887

Publisher: CreateSpace

Review Posted Online: March 27, 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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IT ENDS WITH US

Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of...

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Hoover’s (November 9, 2015, etc.) latest tackles the difficult subject of domestic violence with romantic tenderness and emotional heft.

At first glance, the couple is edgy but cute: Lily Bloom runs a flower shop for people who hate flowers; Ryle Kincaid is a surgeon who says he never wants to get married or have kids. They meet on a rooftop in Boston on the night Ryle loses a patient and Lily attends her abusive father’s funeral. The provocative opening takes a dark turn when Lily receives a warning about Ryle’s intentions from his sister, who becomes Lily’s employee and close friend. Lily swears she’ll never end up in another abusive home, but when Ryle starts to show all the same warning signs that her mother ignored, Lily learns just how hard it is to say goodbye. When Ryle is not in the throes of a jealous rage, his redeeming qualities return, and Lily can justify his behavior: “I think we needed what happened on the stairwell to happen so that I would know his past and we’d be able to work on it together,” she tells herself. Lily marries Ryle hoping the good will outweigh the bad, and the mother-daughter dynamics evolve beautifully as Lily reflects on her childhood with fresh eyes. Diary entries fancifully addressed to TV host Ellen DeGeneres serve as flashbacks to Lily’s teenage years, when she met her first love, Atlas Corrigan, a homeless boy she found squatting in a neighbor’s house. When Atlas turns up in Boston, now a successful chef, he begs Lily to leave Ryle. Despite the better option right in front of her, an unexpected complication forces Lily to cut ties with Atlas, confront Ryle, and try to end the cycle of abuse before it’s too late. The relationships are portrayed with compassion and honesty, and the author’s note at the end that explains Hoover’s personal connection to the subject matter is a must-read.

Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of the survivors.

Pub Date: Aug. 2, 2016

ISBN: 978-1-5011-1036-8

Page Count: 320

Publisher: Atria

Review Posted Online: May 30, 2016

Kirkus Reviews Issue: June 15, 2016

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