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THE WILD GYPSY OF ARBOR HILL

Few readers will be moved by this sexist narrator’s fall from grace.

A young man falls in love with a sex worker in this novella by Havel (Mister Big, 2018, etc.)

The story’s narrator, Charlie, is a student at Trinity College in Connecticut. His family hails from New Hampshire, and he describes them as “Protestants and as white as they come.” At the outset, he reveals that the family lives on inherited wealth and that they probably won’t need jobs for the remainder of their lives. Charlie’s college life is far from carefree, however. He had no girlfriend during his first two years there, but after hitting his junior year and becoming “a bit taller, [and] less of nerd,” young women have started to notice him, he says. He’s also a self-described alcoholic, though, who has bad grades—which he describes as “academic concerns.” Charlie falls for Sophia, a sorority sister who initially treats him with disdain; however, they eventually embark on a casual romantic relationship. After Sophia gets pregnant and decides to get an abortion, Charlie gives up studying, and his life spins out of control. After he drops out of college, his parents tell him that he must be financially self-sufficient. He soon finds himself living in squalor in Albany, New York, where he works at a junkyard. His co-worker Cash takes pity on him, and he pays Gypsy, a sex worker, to visit Charlie while posing as a cleaner. Charlie becomes infatuated with Gypsy, who’s intent on fleecing him to fuel her crack addiction. Their relationship leads him into a criminal underworld, the likes of which he’s never encountered before. This unappetizing new novella offers little variation on the age-old trope of feminine beauty leading men to ruin. Havel’s greatest strength, though, is his ability to create a believably flawed and naïve narrator. Charlie smugly spouts inane complaints about the position of women in society, which also hint at why he finds it so difficult to ingratiate himself to members of the opposite sex: “Modern society had little choice but to make women the choosers of their own mates, while men could only do so much to win his own.” The problem with this confessional format, however, is that many readers will find it difficult to pity the openly sexist Charlie, who ultimately engineers his own fate. The novella hangs on the notion that the protagonist’s sexual desire for Gypsy overpowers his common sense. However, Havel’s descriptions of sexual intercourse are clumsily conceived and lack any erotic energy: “When I slipped out from her body that hung over me, I found remarkable how the sheer ecstasy of having her in my bed warmed my whole body.” Havel also fails to convincingly explain why Charlie is so drawn to this particular siren, who’s underdeveloped as a character and lacks the allure required to drive a hackneyed plot. Still, Charlie’s voice, as a spoiled college kid, is utterly believable, and the novella’s exploration of Albany’s underbelly is mildly intriguing as well.

Few readers will be moved by this sexist narrator’s fall from grace.

Pub Date: N/A

ISBN: N/A

Page Count: -

Publisher: Time Tunnel Media

Review Posted Online: March 22, 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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