A gentle, frothy take on classic romance set pieces.

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MISTRESS OF BEACON HILL

A lovely Irishwoman immigrates to Kentucky in this debut historical novel.

Arrabella “Ella” McCarthy expects to marry her childhood friend and remain in Ireland with her loving family for the rest of her life. But there are limited prospects for a talented Irishwoman in 1897, so when her American uncle proposes naming her his heir in exchange for moving to Kentucky and marrying a neighbor’s wealthy son, Ella can’t refuse. Her major consolation is that she’ll be able to bring four of her beloved horses to her new homeland. But to do so, she must survive a dangerous ocean crossing where unlucky circumstances make her a target for harassment and assault. If readers know that Ella disguises herself as a man in response, they will begin to understand the contours of this adventure. The first of several romantic options comes to her aid as well, and he soon admires her beauty, resilience, and humor. Landing in America presents Ella with two more dubious romantic choices in the form of the Brannock brothers, Padraig and Sean. The latter is Ella’s intended, and she soon realizes that as sons of a recently deceased hotel tycoon and landowner, they have a world of expectations on their shoulders. Sean copes by drinking and gambling, and Padraig locks his feelings away to better perform his many duties. Violence, passion, and easily avoidable miscommunications ensue before Ella can comfortably call herself the mistress of her new Kentucky estate. An early scene in Gentry’s romance where Ella’s Irish Catholic mother frankly discusses the pleasures of sex alerts readers that love and marriage will be framed in a contemporary, recognizable manner. Ella herself is a mix of a 21st-century woman and a historical creation; situations are crafted to display her bravery, brains, and compassion, but this unblemished perfection can read like a portrait of a saint. Despite these motley tones, this series opener presents a beautiful thesis: that true love shapes people to notice others’ needs before their own. Darker events near the end suggest an intriguing, if straightforward, continuation of the saga.

A gentle, frothy take on classic romance set pieces.

Pub Date: N/A

ISBN: N/A

Page Count: -

Publisher: Archway Publishing

Review Posted Online: July 24, 2019

Kirkus Reviews Issue: Oct. 1, 2019

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

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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Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

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THE VANISHING HALF

Inseparable identical twin sisters ditch home together, and then one decides to vanish.

The talented Bennett fuels her fiction with secrets—first in her lauded debut, The Mothers (2016), and now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. Desiree, the “fidgety twin,” and Stella, “a smart, careful girl,” make their break from stultifying rural Mallard, Louisiana, becoming 16-year-old runaways in 1954 New Orleans. The novel opens 14 years later as Desiree, fleeing a violent marriage in D.C., returns home with a different relative: her 8-year-old daughter, Jude. The gossips are agog: “In Mallard, nobody married dark....Marrying a dark man and dragging his blueblack child all over town was one step too far.” Desiree's decision seals Jude’s misery in this “colorstruck” place and propels a new generation of flight: Jude escapes on a track scholarship to UCLA. Tending bar as a side job in Beverly Hills, she catches a glimpse of her mother’s doppelgänger. Stella, ensconced in White society, is shedding her fur coat. Jude, so Black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her White persona is a tour de force of doubling and confusion. It calls up Toni Morrison’s The Bluest Eye, the book's 50-year-old antecedent. Bennett's novel plays with its characters' nagging feelings of being incomplete—for the twins without each other; for Jude’s boyfriend, Reese, who is trans and seeks surgery; for their friend Barry, who performs in drag as Bianca. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress.

Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

Pub Date: June 2, 2020

ISBN: 978-0-525-53629-1

Page Count: 352

Publisher: Riverhead

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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