A daring, if occasionally dreary, series installment that shows that love can be an unremitting trial—with or without...
A telepath has a near-death experience and later struggles with an inner darkness in Heintz’s (The Six Train to Wisconsin, 2013) paranormal drama.
Kai Guhn had a hand in saving a little boy after a disturbed person kidnapped them both. Her injuries put her in the hospital, but her husband, Oliver, and brother, Caleb, ensure her release when it’s clear that the meds are jamming her “psychic shield.” As a result, she’s in mental anguish, overloaded with other people’s thoughts. She already feels betrayed by Oliver: the abduction was, in part, a revenge against him, and the fact that he shared a kiss with his ex-girlfriend Mickey has done nothing to mend their own strained marriage. But she has a few secrets of her own: she once used her telepathy to hurt bullies who’d tormented her high school friend. Now she feels a “darkness” after having been trapped inside her kidnapper’s head. To break this apparent connection, Kai leaves her town of Butternut, Wisconsin, for New York City. As Oliver searches for evidence against a cop who murdered his childhood pal, Kai faces a new threat in Manhattan: an apparent frame-up against Caleb for illicit activities. This novel, like the preceding installment, is a tortured love story with shades of the supernatural. The characters’ superabilities are understated and well-incorporated in the melodrama; at one point, for example, Kai’s father loses control of his own telekinesis, possibly instigated by the darkness in his daughter’s head. Kai does tend to wallow in her misery, though, and although she’s angry that Oliver sought comfort from Mickey, she later does the same thing with Mickey’s brother, Alex. Still, her distrust of Oliver is, sadly, well-founded, and Kai is generally pragmatic throughout. The latter half of the novel is decidedly more engrossing as Kai and Oliver see what it’s like to be without each other, and her predicament in New York reveals her personal and paranormal strength.
A daring, if occasionally dreary, series installment that shows that love can be an unremitting trial—with or without superpowers.Pub Date: Nov. 1, 2016
ISBN: N/A
Page Count: 351
Publisher: Aurea Blue Press
Review Posted Online: Sept. 6, 2016
Review Program: Kirkus Indie
BOOK REVIEW
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
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. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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