Come for the not-so-bad whodunit, stay for the whip-smart, heart-hurt, very entertaining heroine.
When her estranged ex–reality-star younger sister turns up shoeless and dead of an overdose on a Bronx playground, Lena Scott has to prove to herself—and everyone else—that it was not an accident.
Lena may be just 28, but she’s as hard-boiled as a millennial gets. A loner, she hasn’t had a relationship with her hip-hop–mogul father since she was 4; her mother and grandmother both died five years ago; and she hasn’t seen her best friend, who’s burying herself in a master’s program in nonprofit management at Columbia, in a year. A fan of friends with benefits, she’s “never been big on relationships.” She doesn’t even do social media except to keep tabs on her sister, Desiree, another exile from her life after Desiree's DUI two years ago. Since the police have zero interest in pursuing what Lena knows are suspicious circumstances around Desiree’s demise, she hits the streets, uptown and down, by foot and bike, mass transit, and Uber, tracking down leads with baby sister’s friends, flings, and—uncomfortably for her—family. If the first 60 pages have a few too many implausibilities (ubiquitous dashing reporters) and bad similes (“her eyes were as dry as my sex life”) and the last 60 devolve into eye-glazing digital forensics (“I was about to close Safari when I noticed the GoFundMe site”) and a rushed, too-pat end, everything in between crackles. The writing is sharp, the commentary wry, and Lena is irresistible: “I’d never wanted to see a cop more in my twenty-eight years of being Black.”
Come for the not-so-bad whodunit, stay for the whip-smart, heart-hurt, very entertaining heroine.Pub Date: March 8, 2022
ISBN: 978-0-316-25670-4
Page Count: 336
Publisher: Mulholland Books/Little, Brown
Review Posted Online: Jan. 11, 2022
Kirkus Reviews Issue: Feb. 1, 2022
A dark and twisty look at just how far one woman is willing to go to find inspiration.
A struggling writer finds an unexpected muse when a mysterious man shows up at her cabin.
Petra Rose used to pump out a bestselling book every six months, but then the adaptation happened—that is, the disastrous film adaptation of her most famous book. The movie changed the book’s storyline so egregiously that fans couldn’t forgive her, and the ensuing harassment sent Petra into hiding and gave her a serious case of writer’s block. Petra’s one hope is her solo writing retreat at a remote cabin, where she can escape the distractions of real life and focus on her next book, a story about a woman having an affair with a cop. When officer Nathaniel Saint shows up at her cabin door, inspiration comes flooding back. Much like the character from Petra’s book, Saint is married, and he’s willing to be Petra’s muse, helping her get into her characters’ heads. Petra’s book is practically writing itself, but is the game she’s playing a little too dangerous? Does she know when to stop—and, more importantly, is Saint willing to stop? Hoover is no stranger to controversial movie adaptations and internet backlash, but she clarifies in a note to readers that she’s “just a writer writing about a writer” and that no further connections to her own life are contained in these pages—which is a good thing, because the book takes some horrifying twists and turns. Petra finds herself inexplicably attracted to Saint, even as she describes him as “such an asshole,” and her feelings for him veer between love and hate. The novel serves as a meta commentary on the dark romance genre—as Petra puts it, “Even though, as readers, we wouldn’t want to live out some of the fantasies we read about, it doesn’t mean we don’t enjoy reading those things.”
A dark and twisty look at just how far one woman is willing to go to find inspiration.Pub Date: Jan. 13, 2026
ISBN: 9781662539374
Page Count: -
Publisher: Montlake
Review Posted Online: Sept. 27, 2025
Kirkus Reviews Issue: Nov. 1, 2025
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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