A highly readable tale about confronting self-deceptions.

THE SAD LADY & THE URCHIN

A woman begins to doubt her sanity after a run-in with a stranger in this suspense novel.

Palm Beach County, Florida, 1984. Victoria Winston isn’t a sad lady. She has a great job, a great house, a great daughter, and great friends. She’s enjoying wine and hors d’oeuvres with two of these friends one night when a stranger appears at her door: a young, elfin woman named Jessie who immediately rubs Victoria the wrong way. Jessie’s car has broken down at the bottom of the driveway so Victoria of course allows her to use her phone. After a long wait for a cab, the woman finally leaves. Victoria doesn’t think too much of it. But then things begin to change for Victoria. The “brainteasers” come: little instances of forgetfulness or uncharacteristic behavior. She finds her tube of toothpaste squeezed in an odd place, a mysterious cup left out on her dock, and a damp towel that she doesn’t remember using. What can be causing these lapses? Disease? Stress? Victoria begins to realize that maybe she isn’t as happy as she thought she was. After all, her daughter, Christine, has been distant since Victoria’s divorce from her husband, Oscar—in part because Victoria has been keeping a secret about him from Christine. Victoria has not seen the last of Jessie, and the myths the protagonist tells herself may no longer be enough to hold back the dark. Belgrave’s prose is smooth and understated, building tension through its accumulation of small details, as in this passage narrated by Victoria: “They started up again. Nothing extraordinary. Nothing particularly bizarre. But what to make of the cracker crumbs on the dining room table? What to think of the fringed throw pillow stiffly wedged between the seat cushion and the back of the recliner? What of the banana peel in the kitchen trash can?” Readers will be quickly sucked into Victoria’s story, unsure of what direction it will take. The novel presents one of those engaging fictional worlds where everything seems slightly off, even if readers (and the protagonists) can’t immediately identify the source of their unease. The author favors delving into her characters’ psychology over flashier plot devices, and the result is a book that manages to be an emotionally compelling page-turner.

A highly readable tale about confronting self-deceptions.

Pub Date: Sept. 11, 2020

ISBN: 979-8-62-182230-9

Page Count: 557

Publisher: Self

Review Posted Online: Oct. 21, 2020

Kirkus Reviews Issue: Dec. 15, 2020

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A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

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DEVOLUTION

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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Murder most foul and mayhem most entertaining. Another worthy page-turner from a protean master.

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BILLY SUMMERS

The ever prolific King moves from his trademark horror into the realm of the hard-boiled noir thriller.

“He’s not a normal person. He’s a hired assassin, and if he doesn’t think like who and what he is, he’ll never get clear.” So writes King of his title character, whom the Las Vegas mob has brought in to rub out another hired gun who’s been caught and is likely to talk. Billy, who goes by several names, is a complex man, a Marine veteran of the Iraq War who’s seen friends blown to pieces; he’s perhaps numbed by PTSD, but he’s goal-oriented. He’s also a reader—Zola’s novel Thérèse Raquin figures as a MacGuffin—which sets his employer’s wheels spinning: If a reader, then why not have him pretend he’s a writer while he’s waiting for the perfect moment to make his hit? It wouldn’t be the first writer, real or imagined, King has pressed into service, and if Billy is no Jack Torrance, there’s a lovely, subtle hint of the Overlook Hotel and its spectral occupants at the end of the yarn. It’s no spoiler to say that whereas Billy carries out the hit with grim precision, things go squirrelly, complicated by his rescue of a young woman—Alice—after she’s been roofied and raped. Billy’s revenge on her behalf is less than sweet. As a memoir grows in his laptop, Billy becomes more confident as a writer: “He doesn’t know what anyone else might think, but Billy thinks it’s good,” King writes of one day’s output. “And good that it’s awful, because awful is sometimes the truth. He guesses he really is a writer now, because that’s a writer’s thought.” Billy’s art becomes life as Alice begins to take an increasingly important part in it, crisscrossing the country with him to carry out a final hit on an errant bad guy: “He flopped back on the sofa, kicked once, and fell on the floor. His days of raping children and murdering sons and God knew what else were over.” That story within a story has a nice twist, and Billy’s battered copy of Zola’s book plays a part, too.

Murder most foul and mayhem most entertaining. Another worthy page-turner from a protean master.

Pub Date: Aug. 3, 2021

ISBN: 978-1-982173-61-6

Page Count: 528

Publisher: Scribner

Review Posted Online: June 2, 2021

Kirkus Reviews Issue: June 15, 2021

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