An intriguing, if occasionally obtuse, mixture of the historical and the supernatural.



A debut novel about a group of mysterious, night-dwelling creatures and their travels through history.

“Although there is of course no acknowledgment of their existence in our world, I can most emphatically attest to their presence.” So begins this story of the dark creatures known as Night-Travelers—or so they’re called by W. Arthur Richardson, a 1930s writer. He finds himself transfixed by a man named Jean Sylvan, who has good manners, stays in excellent hotels, and isn’t fond of the daytime. Richardson sees him take a young, timid coat-check girl into his company one night, and when he sees her again the next evening, transformed into a woman of the world, he knows something’s up, but he’s not sure exactly what. The girl mysteriously disappears shortly afterward, which, in that era, might have been chalked up as a replaceable loss of the lower orders—were it not for her concerned husband, Jack, who teams up with Richardson in his investigation. So begins a saga that eventually stretches all the way back to 1351 Scandinavia. It also extends forward to 1970s Vermont, where a graduate student named Fran picks up an unassuming hitchhiker wearing a dirty, calico skirt. When strange memories start flooding Fran’s mind, she’s swept up in a whirlwind of activity that eventually involves an aged, though still fiery, Jack. This ambitious novel has a complex scenario and an epic scale. Although the astute reader will surmise that Night-Travelers (or “Nåttfolk,” as they’re also called) are essentially vampires, the book manages to avoid many clichés of the horror genre. The tale is filled with ideas about memory and history, and fantastic and suspenseful scenes, as when a mysterious woman named Pamela Baldwin seeks shelter (“The Sun would be coming soon, and seized with panic, Pamela found herself on the porch of Jack’s farmhouse”). That said, the book can be muddled at times, due to its complexity and shifting cast of characters, and some portions prove difficult to follow. Some readers may get lost in shuffles of time, space and memory, as author Saknusseneouw attempts to distance the Nåttfolk from their more familiar literary cousins.

An intriguing, if occasionally obtuse, mixture of the historical and the supernatural.

Pub Date: Nov. 27, 2013


Page Count: 393

Publisher: Musketaquid House

Review Posted Online: Sept. 19, 2014

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A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.


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. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.


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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