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THE FOURTH HOUSE

Despite some literary missteps, an artfully unsettling tale of the contest between reason and madness.

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A new mother just released from a psychiatric institution is desperate to solve the mystery that haunts her in Barker’s novel.

Immediately after giving birth to her daughter, Rebecca, Sunny Johnson is committed to a psychiatric facility by her husband, Taylor, a psychiatrist himself. She’s diagnosed with peripartum psychosis, a condition that manifests itself in delusions, hallucinations, and irrational paranoia—and, in Sunny’s case, threats of violence against her husband. She’s dogged by memories, splintered impressions that don’t seem to correspond to any lived experience, and upon her release from the hospital she becomes obsessed with coming up with a rational explanation for them, a profound need poignantly captured by the author. In fact, Sunny teaches psychology at a university, and has a professional interest in the tendencies of the human psyche to embrace the irrational, as well as optimism about the power of rationality to liberate oneself from such fantasies. She flees with Rebecca in search of a home that she sees in her reveries and that she painted pictures of while in the hospital. That house turns out to be real, a former funeral parlor in Alexandria Bay in upstate New York with a gruesome past no one in town seems eager to discuss. When she stumbles upon the house from her dreams, she simply knows she’s been there and that, in an inexplicable way, she’s deeply connected to it. “That was why she was here; she was putting into practice what she preached—seeking out the facts required to explore alternate perspectives. Only then could one come to a rational explanation based on logic. But Sunny’s fears weren’t manifested in the manner most people might experience. Instead, they were from not knowing what these events were.” Barker deftly combines Sunny’s internal struggle with external drama, including Taylor’s frantic, police-assisted search for his wife and her likely recommitment to the hospital once she’s found.

At the heart of this suspenseful novel is an exploration of the challenge of certifying oneself as rational—Sunny is not a naïve woman, and she has no time for the supernatural, but she also feels a deep conviction that the strange images that impose themselves upon her are somehow connected to the real world. Occasionally, Barker indulges some cliched literary strategies. The appearance of a mysterious fortuneteller, Madame Vanderhill, who speaks in cryptic riddles, makes the tale temporarily feel like the rehashing of an old paperback formula (she’s the one character in the book who seems like a stock type, a prefabricated template). At times, Barker strains to build dramatic tension; it is simply not necessary for this refrain to appear so often: “I’ve been here…before.” Each instance seems like an anxious reminder that this is a creepy story, a note delivered to readers in whom Barker has limited confidence. Still, the novel as a whole is impressively well crafted and, in fact, genuinely creepy—and unpredictable, to boot.

Despite some literary missteps, an artfully unsettling tale of the contest between reason and madness.

Pub Date: Sept. 30, 2025

ISBN: 9798999206312

Page Count: 388

Publisher: The Bark Bites Back Press

Review Posted Online: Dec. 29, 2023

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THE DIVORCE

Trust no one in this over-the-top tale of deception and revenge.

Dead bodies turn up in the first sentence of the prologue in McFadden’s latest domestic thriller.

The mystery of who died is at the pulsating heart of this propulsive tale. As Chapter 1 begins, Naomi arrives home to find the locks changed on the front door of the gorgeous home she shares with her husband, Jeremy, and their 5-year-old son, Teddy. Jeremy steps out the front door and convinces Naomi to move out while he has their home renovated, a plan Naomi knows nothing about. It’s all a ruse, though, as the next day Jeremy tells her he wants a divorce. Naomi is shellshocked and soon discovers that Jeremy is having an affair with Veronica, a beautiful younger woman. What seems at first like a stereotypical story about a man who leaves his wife turns into something else when Naomi decides she’ll do anything to get Veronica away from Jeremy and Teddy, and Veronica decides to fight for what she thinks she deserves. Fans of stalker novels will cringe with delight as creepy things start to happen. Teddy’s stuffed elephant, a gift from Veronica, is found impaled on a kitchen knife; Naomi suspects Jeremy is gaslighting her and that Veronica tried to poison her. A weird confrontation among Jeremy, Veronica, and Naomi at Teddy’s birthday party, to which Naomi shows up uninvited, is priceless. There are three main characters, and any or all of them may be unreliable narrators. Packing the plot with dark, gasp-inducing twists, McFadden outdoes herself in a story about how highly emotional people engage in risky behavior to get what they want—but in this novel, for better or worse, not everyone will survive.

Trust no one in this over-the-top tale of deception and revenge.

Pub Date: May 26, 2026

ISBN: 9781464249631

Page Count: 368

Publisher: Poisoned Pen

Review Posted Online: April 20, 2026

Kirkus Reviews Issue: May 15, 2026

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THE SILENT PATIENT

Amateurish, with a twist savvy readers will see coming from a mile away.

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A woman accused of shooting her husband six times in the face refuses to speak.

"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.

Amateurish, with a twist savvy readers will see coming from a mile away.

Pub Date: Feb. 5, 2019

ISBN: 978-1-250-30169-7

Page Count: 304

Publisher: Celadon Books

Review Posted Online: Nov. 3, 2018

Kirkus Reviews Issue: Nov. 15, 2018

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