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THE ENTROPY CRYSTAL

Name: THE ENTROPY CRYSTAL
Author: Joseph Barone

by Joseph Barone ‧ RELEASE DATE: N/A

Sci-fi tales for alternative-reality fans and Schrödinger’s cat fanciers.

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A collection of short stories explores multiple dimensions, alternative realities, and disastrous quantum-cosmic anomalies—and how they might affect humans.

The cosmos is dangerously unstable in these tales by Barone (Bebette, 2017, etc.). The narratives closely orbit mind-blowing themes of cosmologies gone awry and quantum apocalypses. There are multiple, parallel, and overlapping universes; dithery dimensions; and time-space anomalies, where fissures develop in the foundations of everything. Many of the stories turn out to be interlinked, following the dilemma of Tim Landry, gifted with synesthesia, lucid dreaming, and vivid déjà vu. During an episode of the last, he deliberately looks in a different direction than he was destined to, thus branching off into a new cause-effect line. Not a good thing, as Tim traverses different versions of his life, never finding himself quite fitting into any of them, winding up humiliatingly labeled as disturbed and put on meds. Other recurring elements: an ill-fated government invention called (in one iteration) the “angel mirror” for peering into nearby dimensions, and orange-eyed mystery men in tan coats who lurk ominously. Some memorable tales do function independently (albeit, consistent with the rubbery-reality notion). In “Vinnie,” a Mafia don brutalizes a strangely passive youth with immense paranormal powers, who has his revenge after all. The standout stand-alone, “Flowers for the Author,” depicts a creatively blocked writer who strikes a Mephistophelean pact to be a successful novelist—but in return, he is harassed by unfulfilled characters demanding he flesh them out in fiction. While other genre writers have used parallel universe/hidden dimension angles as a gimmick in conjuring H.P. Lovecraft-ian monsters or what-if historical speculations, Barone is intrigued by the theoretical aspects themselves. Some stories feel like rewrites or variant drafts of others—but maybe that’s how things go in the multiverse.

Sci-fi tales for alternative-reality fans and Schrödinger’s cat fanciers.

Pub Date: N/A

ISBN: N/A

Page Count: 248

Publisher: Kurti Publishing

Review Posted Online: Aug. 1, 2018

Review Program: Kirkus Indie

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THE MOST FUN WE EVER HAD

by Claire Lombardo ‧ RELEASE DATE: June 25, 2019

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...

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Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.

Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.

Pub Date: June 25, 2019

ISBN: 978-0-385-54425-2

Page Count: 544

Publisher: Doubleday

Review Posted Online: March 3, 2019

Kirkus Reviews Issue: March 15, 2019

Categories:

LITERARY FICTION | FAMILY LIFE & FRIENDSHIP

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- SEEN & HEARD
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THEN SHE WAS GONE

by Lisa Jewell ‧ RELEASE DATE: April 24, 2018

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

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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.