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JACK OF THORNS

From the Inheritance series , Vol. 1

Striking prose and characters make this opening fantasy installment worthwhile.

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In Faulkner’s series-launching urban fantasy debut, two men with untapped superpowers face off against a god with sinister intentions.

Bambi Laurence Riley, who goes by his middle name, can see the future. The first sign of his ability came three years ago during a heroin overdose. He saw snippets of upcoming events, including his father’s death and his own failed stints in rehab. Today, Laurence lives above a San Diego flower shop that his mother, Myriam, runs. He’s inherited her apparent powers of precognition as well as a supernatural ability to grow and heal plants. But although she’s mastered the former gift, Laurence only sees random glimpses of things to come. One involves a handsome man, whom Laurence soon encounters in real life. He’s Quentin Ichabod d’Arcy, a British earl who’s currently in the United States to evade his fame in London. The two have a mutual attraction—which Laurence’s stalker ex-boyfriend, Dan, unfortunately notices immediately. Laurence’s problems get worse when he forgoes his usual prayer for a blessing from the fertility god Cernunnos, and simply asks the Celtic deity for direct help and guidance in his life. Cernunnos responds by manifesting as an emerald-eyed human who insists that Laurence call him Jack. The newcomer’s persistent demands for sexual sustenance lead to him to force a kiss on Quentin, and the latter defends himself with apparent telekinesis. Quentin, like Laurence, can’t control his gift, but both try to hone their skills to combat Jack, who’s cooking up a scheme that could prove devastating. Faulkner’s first series installment offers a commendable introduction to his characters. Laurence and Quentin are flawed but enthralling; the story alternates between the two characters’ points of view, but readers learn a little more about Laurence. His fight against addiction is realistically constant, and triggers such as alcohol sometimes cause stumbles. But his respect for his mother makes him sympathetic from the beginning. Myriam earns this respect as the novel’s best character—a woman who knows the future but wisely doesn’t reveal too much of it to her son. Readers may take longer to warm up to Quentin; he’s initially pretentious, with a palpable animosity toward American customs and vernacular. His background remains somewhat mysterious, but Faulkner makes clear that Quentin has never lived anywhere without a butler before. Stretches of the story concentrate on the two men and their prospective lovers, and they offer sound character development but minimal romance; Laurence’s attraction to the virginal Quentin doesn’t seem to be much more than physical. Along the way, Faulkner’s lustrous passages turn basic scenery into beautiful imagery: “The branches waved lazily in a light breeze and, in parting, revealed a hanging rope, from which was suspended what appeared to be a vast tire from some industrial vehicle.” The story also generates a fair amount of suspense after Jack’s nefarious plan begins to unfold and lives are threatened, and the ending aptly sets up a second book.

Striking prose and characters make this opening fantasy installment worthwhile.

Pub Date: Sept. 3, 2019

ISBN: 978-1-912349-11-1

Page Count: 390

Publisher: Ravensword Press

Review Posted Online: July 17, 2019

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SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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