Richly done.
Sequel to Bitten (2001), about a girl nipped by a nasty—well, psychopathic—but handsome werewolf, Clayton Danvers, whom she takes as her lover once she turns into the only living female werewolf.
In this second in the series, Elena Michaels discovers, as did Hamlet, that there are more things in heaven and earth, Horatio, etc.—that, in fact, there are witches, half-demons, necromancers, sorcerers, shamans—and, gosh, vampires. Here, things begin with a new version of the oft-filmed The Most Dangerous Game, in which a millionaire traps humans to use them as quarry in a hunt, they being the most dangerous game. Only this time it’s Tyler Winsloe, billionaire and computer geek extraordinaire, who traps “otherworld” beings and keeps them in a very advanced glass prison deep in the Maine woods. At first he has only a shaman (who escapes but is ripped apart by rottweilers as he leaves his body), two witches, and a sorcerer who works for him and guides him to prey. Winsloe’s idea of great fun is to trap a werewolf, study it for a while, then free it to be hunted, although he is also privately amassing the world’s greatest collection of supernaturals. Is it foregone that he’ll trap, then hunt, Elena? Well, does a full moon cause Jack Nicholson to change? Elena finds herself trapped by two witches who warn her that Winsloe is onto all the otherworld races, not just werewolves; the witches then save her when Winsloe’s henchmen try a kidnap. Much Darwinian classification of the varied species precedes Elena’s capture and imprisonment, then all that follows.
Richly done.Pub Date: June 1, 2003
ISBN: 0-670-03137-2
Page Count: 400
Publisher: Viking
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: April 15, 2003
An author to watch, Buehlman is now two for two in delivering eerie, offbeat novels with admirable literary skill.
Cormac McCarthy's The Road meets Chaucer's Canterbury Tales in this frightful medieval epic about an orphan girl with visionary powers in plague-devastated France.
The year is 1348. The conflict between France and England is nothing compared to the all-out war building between good angels and fallen ones for control of heaven (though a scene in which soldiers are massacred by a rainbow of arrows is pretty horrific). Among mortals, only the girl, Delphine, knows of the cataclysm to come. Angels speak to her, issuing warnings—and a command to run. A pack of thieves is about to carry her off and rape her when she is saved by a disgraced knight, Thomas, with whom she teams on a march across the parched landscape. Survivors desperate for food have made donkey a delicacy and don't mind eating human flesh. The few healthy people left lock themselves in, not wanting to risk contact with strangers, no matter how dire the strangers' needs. To venture out at night is suicidal: Horrific forces swirl about, ravaging living forms. Lethal black clouds, tentacled water creatures and assorted monsters are comfortable in the daylight hours as well. The knight and a third fellow journeyer, a priest, have difficulty believing Delphine's visions are real, but with oblivion lurking in every shadow, they don't have any choice but to trust her. The question becomes, can she trust herself? Buehlman, who drew upon his love of Fitzgerald and Hemingway in his acclaimed Southern horror novel, Those Across the River (2011), slips effortlessly into a different kind of literary sensibility, one that doesn't scrimp on earthy humor and lyrical writing in the face of unspeakable horrors. The power of suggestion is the author's strong suit, along with first-rate storytelling talent.
An author to watch, Buehlman is now two for two in delivering eerie, offbeat novels with admirable literary skill.Pub Date: Oct. 2, 2012
ISBN: 978-1-937007-86-7
Page Count: 432
Publisher: Ace/Berkley
Review Posted Online: Sept. 1, 2012
Kirkus Reviews Issue: Sept. 15, 2012
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
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