A sometimes-exhausting but realistic portrait of life under physical duress.


You're Still Sick?

A young woman with chronic illness takes matters into her own hands in this debut novel.

Adrea “Drea” Ragnason can’t find a doctor who understands her. Her symptoms, from fatigue to baldness to acne to fainting spells, have come to define her. Her latest physician, Dr. Natsker, has the same dismissive bedside manner as other doctors Drea’s seen: one thinks she’s fainting because of stress from her final exams, while another believes that she just needs to exercise more. Luckily, her aunt, Betty, with whom she works at a bus station ticket booth, is sympathetic and compassionate, though Drea’s mother, Iris, is well-meaning but irritating. One morning Drea decides that the solution to her problems is to visualize her doctors as suffering from the same symptoms she has, and she does so in her journal. Meanwhile, Dr. Helene Gundersen, a talented psychologist, has just opened her own practice in a sunny, welcoming cottage; soon, some of her patients complain of terrible health issues. Betty helps Drea find an apartment above a flower shop owned by Otto, a widower who encourages her to continue to be more vocal with her doctors. When the opportunity comes for Drea to move into Otto’s house and help him open a plant nursery, she’s happy to do so. But she continues to have fainting spells and fatigue and demands to be tested for polycystic ovary syndrome. It’s revealed that some of Dr. Gundersen’s patients are also Drea’s doctors, and they come to realize that their lack of empathy for their patients is humiliating and frustrating when the tables are turned. Overall, this novel could have used more nuance, which might have elevated the novel from a litany of woes to a true exploration of empathy. It also takes a while for Dr. Gundersen’s role in the novel to become clear, and the epiphanies that her patients have are often heavy-handed. That said, the story does an excellent job of portraying the relentless difficulties of suffering from hard-to-treat, chronic illnesses. The characters that love Drea despite her issues are a welcome contrast to the self-pity that sometimes colors other chapters. Deck also considers Drea’s plight from several angles, including how it may be affected by gender bias. Although the novel ends abruptly, its message of self-advocacy and love is palpable.

A sometimes-exhausting but realistic portrait of life under physical duress. 

Pub Date: N/A


Page Count: -

Publisher: iUniverse

Review Posted Online: May 31, 2016

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


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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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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