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KNIGHT OF FLAMES

From the Inheritance series , Vol. 2

An energetic urban-fantasy sequel that skillfully expands the saga’s worldbuilding and cast.

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Two lovers with supernatural powers meet others with similar abilities in this sequel. 

British Earl Quentin d’Arcy, who’s convinced his father killed his mother six years ago, fled his home country. The 25-year-old has kept a low profile in San Diego, California, which has recently proved rewarding. He’s now dating and in love with Laurence Riley, who lives and works at a flower shop with his mother, Myriam. Laurence, the more sexually experienced of the two, is taking things slowly. Physical intensity tends to spike Quentin’s anxiety, which causes him to lose control of his telekinesis and potentially put Laurence in danger. Laurence has talents as well, including precognition, but Quentin soon realizes they aren’t the only people with superpowers. He catches the attention of Kane Wilson, who wants to know why his mind control doesn’t work on Quentin. Wilson has been “liberating” teens with special abilities and helping them learn to control them. Quentin’s association with Wilson’s group leads to his discovery of another power: creating fire. This unfortunately ties to Laurence’s cryptic vision of the future—Quentin in his arms and both men seemingly on the verge of a fiery demise. Laurence and Quentin begin to suspect Wilson isn’t so much charitably aiding youngsters as he is amassing a team of superpowered fighters. Quentin then takes a risk by accepting Wilson’s offer to join them, with the hope of staying close and uncovering what the man is truly planning. In Book 2 of this lively urban-fantasy series, Faulkner (Jack of Thorns, 2019) immediately depicts Laurence and Quentin basking in an already established romance. This sets a consistent pace from the beginning, which the author maintains by providing expository bits to catch up new readers. The couple’s relationship shows signs of evolving, as they continue to learn about each other’s families and personal histories and occasionally suffer pangs of jealousy. Though their intimate scenes of exclusively kissing may seem straight out of a YA novel, they progressively turn steamier: Quentin “pressed himself against Laurence’s body, stifling his panic against the other man’s flesh, biting down on his shoulder to keep himself from tipping over the edge.” These scenes deftly showcase two men who are savoring their romance. But Myriam, who shined brightly in the series opener, has disappointingly few appearances. Picking up the slack is Quentin’s twin, Freddy, who manages to find his brother in San Diego. Freddy is both smart and helpful as well as a standout character thanks to his affectionate nickname for Quentin: Icky (an abbreviation of his middle name, Ichabod). The supernatural element, as in the preceding book, never completely monopolizes the narrative. Nevertheless, there are plenty of new, intriguing characters in Wilson’s group, who sport varying powers, from electrokinesis to an uncanny stealth capability. Laurence and Quentin, meanwhile, hone their formidable skills, including the former’s attempt to induce a vision that reveals a past, rather than a future, event. The effective final act boasts action, characters in peril, and a denouement that, not surprisingly, teases the next volume.

An energetic urban-fantasy sequel that skillfully expands the saga’s worldbuilding and cast.

Pub Date: Sept. 17, 2019

ISBN: 978-1-912349-12-8

Page Count: 388

Publisher: Ravenswood Publishing

Review Posted Online: Nov. 14, 2019

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A LITTLE LIFE

The phrase “tour de force” could have been invented for this audacious novel.

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Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.

Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.  

The phrase “tour de force” could have been invented for this audacious novel.

Pub Date: March 10, 2015

ISBN: 978-0-385-53925-8

Page Count: 720

Publisher: Doubleday

Review Posted Online: Dec. 21, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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JURASSIC PARK

Genetically engineered dinosaurs run amok in Crichton's new, vastly entertaining science thriller. From the introduction alone—a classically Crichton-clear discussion of the implications of biotechnological research—it's evident that the Harvard M.D. has bounced back from the science-fantasy silliness of Sphere (1987) for another taut reworking of the Frankenstein theme, as in The Andromeda Strain and The Terminal Man. Here, Dr. Frankenstein is aging billionaire John Hammond, whose monster is a manmade ecosystem based on a Costa Rican island. Designed as the world's ultimate theme park, the ecosystem boasts climate and flora of the Jurassic Age and—most spectacularly—15 varieties of dinosaurs, created by elaborate genetic engineering that Crichton explains in fascinating detail, rich with dino-lore and complete with graphics. Into the park, for a safety check before its opening, comes the novel's band of characters—who, though well drawn, double as symbolic types in this unsubtle morality play. Among them are hero Alan Grant, noble paleontologist; Hammond, venal and obsessed; amoral dino-designer Henry Wu; Hammond's two innocent grandchildren; and mathematician Ian Malcolm, who in long diatribes serves as Crichton's mouthpiece to lament the folly of science. Upon arrival, the visitors tour the park; meanwhile, an industrial spy steals some dino embryos by shutting down the island's power—and its security grid, allowing the beasts to run loose. The bulk of the remaining narrative consists of dinos—ferocious T. Rex's, voracious velociraptors, venom-spitting dilophosaurs—stalking, ripping, and eating the cast in fast, furious, and suspenseful set-pieces as the ecosystem spins apart. And can Grant prevent the dinos from escaping to the mainland to create unchecked havoc? Though intrusive, the moralizing rarely slows this tornado-paced tale, a slick package of info-thrills that's Crichton's most clever since Congo (1980)—and easily the most exciting dinosaur novel ever written. A sure-fire best-seller.

Pub Date: Nov. 7, 1990

ISBN: 0394588169

Page Count: 424

Publisher: Knopf

Review Posted Online: Sept. 21, 2011

Kirkus Reviews Issue: Oct. 15, 1990

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