Riveting time periods tied together by a delightfully eccentric protagonist.

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THE MULTITUDE

An angel tries to save the grim alternate world she’s inadvertently created in Fraser’s (The Witch of the Hills, 2018, etc.) fantasy.

After witnessing the horror of the Hiroshima bombing, Angel Gabriella decides to make a change. Believing the source of trouble is religion, as many varieties are “magnets for violence,” she travels back nearly 2,000 years via the World of Mortal Dreams. She uses dreams and persuasion to convince someone to eliminate one particular religion’s founder, but a return to the 1940s reveals nothing has changed. Gabriella learns her actions have split the world in two, and a couple millennia later, the alternate universe is no better than the original. The other world may need a messiah, and Gabriella finds one in each world: Carla and Maynya. Evidently, splitting the universe also split souls, and the angel plans to reunite the girls’ souls. A strategy slowly forms, involving Carla’s death in 2012 and a man in the original world named Brewster DeLay, who, like Carla, has a counterpart in the other. Brewster and Carla meet in dreams (they’re separated by time; he’s one year into her future). But as they both fall for each other, they may search for a way to cheat death. Though Fraser’s story lingers on Brewster and Carla’s developing relationship, it also bounces between worlds with ease. Gabriella, who retains the appearance of a young girl, is fascinating. She sees signs from God but acknowledges mistakes, and there’s even a question of what she genuinely is: an angel, fallen angel, or something else. Fraser takes the material seriously and openly addresses religion without deriding or criticizing any specific one. Lightening things up, however, is radiant prose: “Falling leaves paint-gunned the lawns in a variety of autumn colors. He caught a whiff of burning brush, a seasonal fragrance saying trick or treat.” There are few surprises, but the story picks up in the final act when characters in both time periods ultimately converge.

Riveting time periods tied together by a delightfully eccentric protagonist.

Pub Date: N/A

ISBN: N/A

Page Count: -

Publisher: BookBaby

Review Posted Online: Oct. 22, 2019

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

THEN SHE WAS GONE

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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