An unusual setting adds interest to this energetic account.



From the Plantations and Pirates series , Vol. 7

This fictional diary, seventh in a series of children’s books, explores the life of black Seminoles as the Indian Removal Act begins to take effect.

Ebony Noel Carter, about 12, lives in Florida Big Swamp with her family, who belong to Seminole Indian Chief Jimmy Otter and his wife, Smiling Tiger (although tigers are not native to the Americas). Ebony’s father was a runaway slave from Georgia; in Florida, he met Ebony’s mother, a black Seminole (called slaves but similar to tenant farmers). Ebony’s siblings include Little John, about 16; a pesky younger brother, Pompey; and twin ever bickering sisters, Willie May and Jethro May, about 14. Ebony records scenes from everyday life—farmwork, meal preparation, fighting with siblings, storytelling—together with notable events like a birth, a death, visiting a trading post, and the Green Corn Dance, a dayslong Native American celebration. She describes the festival’s special games, dances, foods, and ceremonies, like Court Day, during which engagements are announced and punishments given to rule-breakers. This year, that includes Ebony, who has taken a forbidden look inside the men’s sweat house. The Corn Dance brings some wonderful news but also dreadful: War and forced Indian removals are coming. The Seminole community, both native and black, must flee from Florida toward a new chapter in their lives. An author’s note supplies some historical background. McWilliams (The Journal of Leroy Jeremiah Jones a Fugitive Slave (Alabama 1855), 2015, etc.) supplies a little-seen and intriguing setting for her African-American characters as black Seminoles in Florida. As in other series entries, the voice is exuberant—many capitals and exclamation points—and written in lively dialect: “And we gals hee haw and hee haw and HEE HAW ’cause not one of we can never say that white man’s name!” It’s hard to say how authentic Ebony’s dialect is, but it’s consistent and animated. Readers will likely enjoy the book’s cultural details, so different from a plantation setting. Barring a short epilogue, the book ends as the characters leave Florida, something of a lost opportunity.

An unusual setting adds interest to this energetic account.

Pub Date: Jan. 3, 2016


Page Count: 263

Publisher: Time Tunnel Media

Review Posted Online: Jan. 16, 2019

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


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.

Pub Date: April 24, 2018

ISBN: 978-1-5011-5464-5

Page Count: 368

Publisher: Atria

Review Posted Online: Feb. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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