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SEE

Name: SEE
Author: Lee Ann Ward
ISBN: 978-1-77339-321-6

by Lee Ann Ward ‧ RELEASE DATE: June 7, 2017

A commendable, gifted protagonist who bravely confronts both villains and adolescence.

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In this YA thriller, a teen with the ability to see the face of a killer or an assailant through a victim’s eyes remains in danger of the culprit spotting her as well.

In many ways, Carlie Henson is a typical 15-year-old. Though she’s endured lows, like her parents’ divorce, she’s more than content with handsome, doting boyfriend Dillon Daniels. But a decade ago, she displayed an unusual ability: She saw the victim of an unsolved murder on TV and, via the eyes, knew who the killer was. She gave a detailed description to her mother, Linda Cooper, a police sketch artist. This frighteningly linked Carlie to the predator, who nearly succeeded in abducting her. She now lives with her overprotective mom, who fears what might happen if Carlie looks into a victim’s eyes again. Unfortunately, that’s exactly what the teen does after realizing that a recent unidentified body is one of her friends from school. The strong possibility that the murderer, whose face she’s now seen, will come looking for her is a constant threat and could be perilous for Linda, Dillon, and Carlie’s friend Jenna Bradshaw. Furthermore, Carlie learns that the eyes of a person who’s suffered an attack will likewise show her a perpetrator—who’s no less menacing. Supernatural faculty notwithstanding, Ward (Glimpses of Wilderness, 2017, etc.) deftly underlines a teenager’s sometimes-turbulent life. Carlie and Dillion’s relationship is the book’s richest element; there’s an unmistakable physical attraction, but it’s coupled with genuine affection from both sides. Carlie has her flaws (using her power covertly requires the occasional lie) but is empathetic. For example, she holds an impromptu Sweet Sixteen party for Jenna after hearing that her friend missed out on one. Details on Carlie’s ability are vague though not abstruse; it’s abundantly clear she’s seeing the culprit’s face. There’s still mystery, too, as Carlie, even if seeing an individual, doesn’t necessarily know his or her identity. Still, attempts at defining her power produce blunders: Multiple characters, including a therapist, erroneously call it telekinesis.

A commendable, gifted protagonist who bravely confronts both villains and adolescence.

Pub Date: June 7, 2017

ISBN: 978-1-77339-321-6

Page Count: 296

Publisher: Evernight Teen

Review Posted Online: May 22, 2018

Review Program: Kirkus Indie

Categories:

GENERAL FICTION

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SUMMER ISLAND

by Kristin Hannah ‧ RELEASE DATE: March 1, 2001

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

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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

Categories:

GENERAL FICTION

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LAST ORDERS

by Graham Swift ‧ RELEASE DATE: April 5, 1996

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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.