A violent, dramatic, and ultimately hopeful debut despite some pacing issues.

MELHARA

From the Melhara series , Vol. 1

In this contemporary horror/fantasy novel, a Canadian woman confronts her destiny when a demon claims her as his queen.

Kyra Parker, 35, has been trying to live a normal life with her husband, James Parker, and 8-year-old son, Xavier. She and her best friend, Alexis Bennett, are secretly witches, but Kyra doesn’t talk anymore about the bad dreams and strange events that she experienced in her childhood. Her attempt at normalcy ends when she’s kidnapped and brutally beaten by associates of Alastor, a mesmerizingly handsome demon, straight out of her nightmares, who wants her to rule the world alongside him. “Dreams of angels, demons, magic, war, blood, death—and the fear and hope that accompanied them” soon come flooding back to her, and she’s forced to accept his demands in order to protect family members and friends who’ve also been kidnapped. Thus Kyra becomes demonic herself, wreaking havoc with Alastor, bringing down governments, and building an army of released convicts. Soon her friends and their new allies, including a priest and two other mysterious figures, organize a resistance movement, guided by a prophecy that Kyra’s special heritage will allow her to overcome Alastor’s evil. But first, they must reclaim her from Alastor’s terrible influence. Debut author Tollefson often keeps up a quick pace in this story, which delivers plenty of gory supernatural action and a dash of eroticism. She also handles dialogue and description with facility. However, the large size of the cast sometimes slows things down, as does the fact that several characters have similar names (such as Alexis, Axel, and Alastor). It’s also problematic during fight scenes, as readers sometimes have to track half a dozen characters or more through complicated choreography. The sections that explain supernatural background information, such as magical rules and their exceptions, also drag. That said, the novel’s spirit of resistance to evil will resonate with many readers even if its graphically described scenes of blood, torture, and suffering don’t appeal to everyone.

A violent, dramatic, and ultimately hopeful debut despite some pacing issues. 

Pub Date: Feb. 8, 2017

ISBN: 978-0-9953086-1-9

Page Count: 298

Publisher: Lost Girl Creations

Review Posted Online: Feb. 20, 2017

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A strict report, worthy of sympathy.

THE CATCHER IN THE RYE

A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.

"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….

A strict report, worthy of sympathy.

Pub Date: June 15, 1951

ISBN: 0316769177

Page Count: -

Publisher: Little, Brown

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: June 15, 1951

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...

FLY AWAY

Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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