Next book

TRINITY SIGHT

A testament to the strength of women and girls with a side of philosophy, myth, and metaphysics.

Brace yourself: The end of the world is coming. Or is it? A multilayered, Indigenous-inflected version of the apocalypse that resists predictability.

Calliope Santiago is an anthropologist and a young mother heavily pregnant with twins the day the Earth changes forever. As she’s driving home from her job as a professor at the University of New Mexico, there’s a blinding flash, and Calliope crashes her car. When she comes to, everyone else is gone, rapture-style. Well, almost everyone—Calliope’s 6-year-old neighbor, Eunjoo, also remains, inexplicably. The two flee Albuquerque, where long-dormant volcanoes, newly awakened, are burying the city in molten lava, and head for Calliope’s aunt’s hacienda in the Gila Mountains to the south. On the way, Calliope and Eunjoo amass an unlikely crew of fellow left-behinds, each with his or her role to play as their odyssey unfolds. The author of several poetry collections, first-time novelist Givhan employs Southwestern Puebloan mythology to inform the plot—as when Kachina dolls come to life as the monstrous and deadly Suuke, half-gods, half-monsters hell-bent on destroying Calliope and her companions. Givhan also makes contemporary connections, as when she invokes Kennewick Man, the ancient skeleton discovered in Washington state in the 1990s, and refers to the years of controversy between scientists, the U.S. government, and Native American tribes before the remains were eventually repatriated. Another character, Mara, who’s the partner of Calliope’s missing aunt, witnessed the birth of the atomic bomb in the 1940s when her father was sent to Los Alamos to work on the top-secret Manhattan project. Mara often links the nuclear terror of her childhood and the rending they’re witnessing near the end of her life. Givhan’s themes are complex and occasionally compete with the twists and turns of the plot for a reader’s attention. Still, texture and nuance are rare among disaster narratives and are welcome here.

A testament to the strength of women and girls with a side of philosophy, myth, and metaphysics.

Pub Date: Oct. 1, 2019

ISBN: 978-1-5385-5672-6

Page Count: 304

Publisher: Blackstone

Review Posted Online: July 14, 2019

Kirkus Reviews Issue: Aug. 1, 2019

Categories:
Next book

CARRIE

King handles his first novel with considerable accomplishment and very little hokum—it's only too easy to believe that these...

Figuratively and literally shattering moments of hoRRRRRipilication in Chamberlain, Maine where stones fly from the sky rather than from the hands of the villagers (as they did in "The Lottery," although the latter are equal to other forms of persecution).

All beginning when Carrie White discovers a gift with telekinetic powers (later established as a genetic fact), after she menstruates in full ignorance of the process and thinks she is bleeding to death while the other monsters in the high school locker room bait and bully her mercilessly. Carrie is the only child of a fundamentalist freak mother who has brought her up with a concept of sin which no blood of the Lamb can wash clean. In addition to a sympathetic principal and gym teacher, there's one girl who wishes to atone and turns her date for the spring ball over to Carrie who for the first time is happy, beautiful and acknowledged as such. But there will be hell to pay for this success—not only her mother but two youngsters who douse her in buckets of fresh-killed pig blood so that Carrie once again uses her "wild talent," flexes her mind and a complete catastrophe (explosion and an uncontrolled fire) virtually destroys the town.

King handles his first novel with considerable accomplishment and very little hokum—it's only too easy to believe that these youngsters who once ate peanut butter now scrawl "Carrie White eats shit." But as they still say around here, "Sit a spell and collect yourself."

Pub Date: April 8, 1974

ISBN: 0385086954

Page Count: 216

Publisher: Doubleday

Review Posted Online: Sept. 26, 2011

Kirkus Reviews Issue: April 1, 1974

Categories:
Next book

TO KILL A MOCKINGBIRD

A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.

Pub Date: July 11, 1960

ISBN: 0060935464

Page Count: 323

Publisher: Lippincott

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: July 1, 1960

Categories:
Close Quickview