Phillips’ prose is as haunting as the questions she raises about the natures of sin, evil and grace.

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QUIET DELL

Phillips (Lark and Termite, 2009) fuses the established facts surrounding the 1931 trial of serial killer Harry Powers with her imagined version of the victims’ inner lives and the fictional lives of a handful of characters connected by the crimes.  

Financially strapped since her husband’s death, Asta Eicher lives with her three children in a large suburban Chicago house, where she takes in boarders. Devoted to her and the children, former boarder Charles O’Boyle, who has prospered in his business, proposes to Asta while celebrating a joyful Christmas with the family in 1930. Aware he is gay, she turns him down. Instead, she assumes she will solve her problems by marrying Cornelius Pierson, with whom she’s secretly begun corresponding through the American Friendship Society (think snail-mail Match.com). In July 1931, Asta leaves her children with a babysitter while she travels with Cornelius to set up the family’s new home. A week later, Cornelius returns alone to fetch the kids. Phillips brings the Eichers to vivid life—Asta’s guilt, 14-year-old Grethe’s innocence, 12-year-old Hart’s protectiveness, 9-year-old Annabel’s spirit—and wisely eschews the grisly details of their deaths. Months later, the police discover the Eichers’ remains in the basement of a garage belonging to Harry Powers in Quiet Dell, W.V. Charged with the Eichers’ murders, Powers is indicted for the murder of Dorothy Lemke, whose body has also been discovered in the garage, because the circumstantial evidence in her case is stronger. The snippets of actual court testimony and reportage included are harrowing. While digging up dirt on Powers, (fictional) Chicago Tribune reporter Emily Thornhill falls deeply in love with Asta’s (real-life) banker. She also takes in an orphaned street urchin. So in the aftermath of one family’s destruction, Emily creates a new if unconventional “family” of people she loves.

Phillips’ prose is as haunting as the questions she raises about the natures of sin, evil and grace.

Pub Date: Oct. 15, 2013

ISBN: 978-1-4391-7253-7

Page Count: 480

Publisher: Scribner

Review Posted Online: July 20, 2013

Kirkus Reviews Issue: Aug. 1, 2013

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

DEVOLUTION

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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Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

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THE VANISHING HALF

Inseparable identical twin sisters ditch home together, and then one decides to vanish.

The talented Bennett fuels her fiction with secrets—first in her lauded debut, The Mothers (2016), and now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. Desiree, the “fidgety twin,” and Stella, “a smart, careful girl,” make their break from stultifying rural Mallard, Louisiana, becoming 16-year-old runaways in 1954 New Orleans. The novel opens 14 years later as Desiree, fleeing a violent marriage in D.C., returns home with a different relative: her 8-year-old daughter, Jude. The gossips are agog: “In Mallard, nobody married dark....Marrying a dark man and dragging his blueblack child all over town was one step too far.” Desiree's decision seals Jude’s misery in this “colorstruck” place and propels a new generation of flight: Jude escapes on a track scholarship to UCLA. Tending bar as a side job in Beverly Hills, she catches a glimpse of her mother’s doppelgänger. Stella, ensconced in white society, is shedding her fur coat. Jude, so black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her white persona is a tour de force of doubling and confusion. It calls up Toni Morrison’s The Bluest Eye, the book's 50-year-old antecedent. Bennett's novel plays with its characters' nagging feelings of being incomplete—for the twins without each other; for Jude’s boyfriend, Reese, who is trans and seeks surgery; for their friend Barry, who performs in drag as Bianca. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress.

Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

Pub Date: June 2, 2020

ISBN: 978-0-525-53629-1

Page Count: 352

Publisher: Riverhead

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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