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THE PSALMIST

An absorbing artist’s story with a similar structure but darker tone than Irving Stone’s The Agony and the Ecstasy (1961).

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A sprawling novel detailing the life of a 20th-century blues musician.

Akley’s lengthy fiction debut tells the story of a blues musician named David Threnody, who was “born in an apartment above a pawn shop on 129 N 8th Street in East St. Louis, Illinois…in winter, the 28th of February 1918.” Akley uses a variety of techniques—including journal entries and a long stretch of prose structured as a stage play—to first outline the lives of David’s parents and then to tell David’s own life from his childhood to his slow, spotty entrance onto the music scene in New Orleans and its environs. “Remember laughter is a tool like anything else,” David’s mother writes. “It’s a tool for Hope.” Yet there’s barely any humor in this long book and virtually no hope, either. Instead, through the viewpoints of a handful of characters but always returning to center on David, Akley takes readers through the ups and downs of David’s life, his music, his problems with the law, and his struggles with drugs and alcohol. David’s morose and brooding nature governs the story, seen most directly in excerpts from his own journals: “No good habits come from idle time. Bodies just rot that way.” Through the long, complicated stories of David’s love life and tense family relationships, Akley shapes a narrative of a down-and-out bluesman who grows into a kind of hard-won wisdom. “He was kind of a preacher you know,” one character says of him. “And his songs were laments. Like it was all vanity to him. A striving after the wind.” Akley consistently displays great skill in both moving the story briskly along despite its great length and in controlling the tempo, sometimes speeding it up and peppering it with tragedies or sometimes slowing it down and filling it with memorable philosophical observations: “Truth is memory when you’re sad.” “It’s the present moment when you’re happy.” A sordid, off-tempo ending adds extra resonance to the story of David’s bleak but fascinating life.

An absorbing artist’s story with a similar structure but darker tone than Irving Stone’s The Agony and the Ecstasy (1961).

Pub Date: Nov. 6, 2013

ISBN: N/A

Page Count: 639

Publisher: Amazon Digital Services

Review Posted Online: March 10, 2014

Kirkus Reviews Issue: April 15, 2014

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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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