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CHARLENE

A compassionate, sometimes surprising, and always entertaining portrayal rising above a confining community.

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Under the watchful eye of her small-town neighbors in rural Virginia, an outsider struggles to belong in Helms’ novel.

Charlene Via, in her own estimation, is “a thirty-year-old woman that a lot of people around here say is…well, I’ll just say it—trashy.” Working behind the counter of a convenience store connected to a Marathon gas station, she is asked for advice and support from Luke Lyman, a 17-year-old German Baptist who was kicked out of his church, home, and job after his father discovered him looking at pictures of other men. Charlene lives in a trailer with limited space, but she thinks that the local Methodist pastor, Bob Munford, might be able to help Luke. Little does Charlene know that Bob is in the middle of his own self-proclaimed midlife crisis, breaking up with his wife and Jesus at the same time as he starts to doubt his purpose (“I feel like I’ve been living a lie for a long time, and I don’t want to start this new life with a bigger one”). The opening chapters alternate between the close third-person perspectives of Charlene and Bob, but the narrative expands once Bob tries to seek help for Luke. He contacts the church’s outreach director, who does not support Bob’s more open “liberal-like” ways and begins mounting a campaign that gets Bob barred from his own church by committee decision. He still invites Luke to stay with him before he’s kicked off the church property, but Luke soon runs away. While this is more than enough conflict to propel a novel, Helms continues to add complications by introducing Charlene’s abusive husband back into town. His actions soon escalate into a violent act, the aftermath of which takes up most of the novel’s second half.

While the narrative is a bit overlong and occasionally spins its own wheels in small-town melodrama, Helms’ development of the characters is consistently incisive. None among his collection of misfits comes across as a stereotype; each has their own backstory—including a colorful struggling songwriter and a town gossip who regularly meets with Pastor Bob despite being far from religious. Charlene, whom the reader eventually learns is of Melungeon heritage (“this mishmash of Portuguese and Black and Native American”) is particularly compelling in her attempts to transcend her past and present circumstances by bettering herself via community college and making connections with people of substance. The dialogue is sharp, capturing the rhythms and contradictions of small-town life with authenticity and wit (“We helped those people from Somalia a few years back and they were Moslems or Muslims or whatever they call themselves. I don’t see much difference. You don’t have to agree with somebody to help them”). As the story progresses, Helms continues to expand the novel’s supporting cast, introducing characters whose lives orbit around Charlene and Bob. These additional perspectives add texture and depth, though they occasionally divert attention from the core narrative. The text runs over 500 pages—the abundance of characters and subplots may stretch the patience of some readers who crave a tighter focus. Still, even with its sprawling scope, Helms ultimately succeeds in pulling the story’s threads together.

A compassionate, sometimes surprising, and always entertaining portrayal rising above a confining community.  

Pub Date: N/A

ISBN: N/A

Page Count: -

Publisher: N/A

Review Posted Online: June 14, 2025

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BURY OUR BONES IN THE MIDNIGHT SOIL

A beautiful meditation on queer identity against a supernatural backdrop.

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Three women deal very differently with vampirism in Schwab’s era-spanning follow-up to The Invisible Life of Addie LaRue (2020).

In 16th-century Spain, Maria seduces a wealthy viscount in an attempt to seize whatever control she can over her own life. It turns out that being a wife—even a wealthy one—is just another cage, but then a mysterious widow offers Maria a surprising escape route. In the 19th century, Charlotte is sent from her home in the English countryside to live with an aunt in London when she’s found trying to kiss her best friend. She’s despondent at the idea of marrying a man, but another mysterious widow—who has a secret connection to Maria’s widow from centuries earlier—appears and teaches Charlotte that she can be free to love whomever she chooses, if she’s brave enough. In 2019, Alice’s memories of growing up in Scotland with her mercurial older sister, Catty, pull her mind away from her first days at Harvard University. And though she doesn’t meet any mysterious widows, Alice wakes up alone after a one-night stand unable to tolerate sunlight, sporting two new fangs, and desperate to drink blood. Horrified at her transformation, she searches Boston for her hookup, who was the last person she remembers seeing before she woke up as a vampire. Schwab delicately intertwines the three storylines, which are compelling individually even before the reader knows how they will connect. Maria, Charlotte, and Alice are queer women searching for love, recognition, and wholeness, growing fangs and defying mortality in a world that would deny them their very existence. Alice’s flashbacks to Catty are particularly moving, and subtly play off themes of grief and loneliness laid out in the historical timelines.

A beautiful meditation on queer identity against a supernatural backdrop.

Pub Date: June 10, 2025

ISBN: 9781250320520

Page Count: 544

Publisher: Tor

Review Posted Online: March 22, 2025

Kirkus Reviews Issue: April 15, 2025

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THE WEDDING PEOPLE

Uneven but fitfully amusing.

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Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.

Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.

Uneven but fitfully amusing.

Pub Date: July 30, 2024

ISBN: 9781250899576

Page Count: 384

Publisher: Henry Holt

Review Posted Online: Sept. 13, 2024

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