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THE ENGINE WOMAN'S LIGHT

A coming-of-age story that thoughtfully blends mysticism and adventure.

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In this dystopian YA novel set in an alternate, steampunk-y version of California, a teenage girl gets mystical visions of tasks that she must perform to save her people.

In 1894, the village of Promise in North California has long helped passengers from a nearby train line that carries the unwanted—lepers, refugees, the elderly, abandoned children—to a workhouse/asylum in British South California. Juanita Elise Jame-Navarro was rescued from the train and brought to Promise as a baby; now 15, she’s become a “mystic traveler” for her tribe. From the Shadow World, she gets a mission to sabotage the workhouse train because a new superintendent plans to cut expenses by killing the asylum’s “expendables.” Juanita has spirit guides to help, such as her ancestor Billy, a locomotive engineer who addresses her as “Little Engine Woman.” After the sabotage, her plan is to escape southward to Mexico, which brings its own dangers—especially from the cruel and powerful Mendoza family. But the planned explosion goes wrong, killing some Promise folk—likely including Juanita’s beloved, Galen—and leaving herself injured. Pilgrims rescue her and take her to their village; feeling betrayed by the Shadow World and heartbroken over Galen, Juanita bides her time. Two years later, Billy again insists on a perilous sabotage mission, this time involving the unscrupulous Antonio Mendoza. Billy believes that the Mendozas can be outsmarted and perhaps even motivated to shut down or clean up the asylum. Juanita’s new quest is to steal a train, blast the tunnels, look for Galen, and recover Carla, an asylum-bound baby. During her mission, she’ll learn startling truths about her family history and discover new strengths. Many sci-fi and fantasy novels are organized around a quest. Although Juanita does indeed solve problems and cover some ground, these are secondary to her maturing understanding of herself, history, the Shadow World, and relationships in both the spirit and human realms. Like Ursula K. Le Guin, Hill (Heroes Arise, 2008) pays attention to the anthropology of her invented culture in ways that enrich the story greatly, often in details that subtly underscore how the society both resembles and differs from our own. For example, Juanita worries about being too plump, but she also likes the soft black hair on her legs because she sees it as feminine. The steampunk influence is also subtle; some characters wear top hats with goggles, and there’s a clockwork man and a mystical tin airship. Steam trains are also important, of course, and Hill has researched their operations well. But this is a book about people, not inventions, and its emphasis is on its characters’ choices and their consequences, as when Juanita wonders, “Who would I be by the time I stopped the asylum train, found Galen and rescued Carla?” However, philosophical musings don’t take the book over, either. Tough, painful, and real things happen to Juanita, making her determination to carry through her mission all the more heroic.

A coming-of-age story that thoughtfully blends mysticism and adventure.

Pub Date: Jan. 12, 2017

ISBN: 978-1-937818-80-7

Page Count: 350

Publisher: Sand Hill Review Press

Review Posted Online: July 21, 2017

Kirkus Reviews Issue: Sept. 1, 2017

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SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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