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I AM BATHSHEBA

A wildly inventive but sometimes comical erotic novel.

The biblical story of King David and Bathsheba, recast as an erotic drama.

As a young girl, Bathsheba is willful, defiant, and precociously curious about her burgeoning sexuality. She instinctively rebels against the patriarchal tyranny of traditional Jewish law, which she sees as leaving women as the voiceless disciples of men. She leaves home to find her grandmother, Mother Malka, a kind of erotic priestess who has an underground dungeon. Mother Malka not only mentors her in the carnal arts, but also tells her that the religious tradition in which she was raised is false—blasphemies that Bathsheba finds exhilarating. Mother Malka prophesizes that Bathsheba will become the lover of royalty, but the young woman’s parents arrange for her to marry Uriah, a dour man obsessed with his military duties. But when he goes off to war, she begins a sexual entanglement with King David—a torrid affair that eventually leaves Bathsheba pregnant. King David arranges for Uriah to remain at war; it’s a move that’s tantamount to an assassination, and a sinful transgression for which he’s deeply ashamed. But he nonetheless marries Bathsheba, and the couple have a son, Solomon. When Solomon grows into an adult, he’s less interested in erotic enjoyment than in his princely obligations. Bathsheba, however, selects a young virgin, Abishag, to become her sexual disciple, just as she was mentored by Mother Malka. In this way, Abishag becomes an instrument of Solomon’s future sexual emancipation—a process that first requires her to experience her own. Debut author Minx tells this entire story through diary excerpts, quickly shifting perspectives to allow all the main characters to speak for themselves. This recasting of the biblical tale is fiercely imaginative, transforming a story about a woman’s helplessness into one of personal empowerment and feminine exaltation. Also, Minx’s creativity is fearless—she never shies away from interpretations that flirt with what some might call sacrilege. For example, King David enjoys a passionate, if chaste, relationship with his best friend, Jonathan, that allows him to tap into his yearning for sexual submission. Far from being depicted monochromatically as an imperious king, preying upon vulnerable women, he’s revealed as someone who feels exasperatingly imprisoned within a man’s body. Minx’s descriptions of sex, though, can be more comic than dramatic—euphemisms for sexual organs, such as “lily, “bulbs,” and “petals,” drain the drama from many sexually charged passages. Also, she often expresses the inner monologues of her characters in a naïve, bowdlerized language that conflicts with the transgressions and taboos she describes. For example, as Bathsheba is initiated into the pleasures of submission, she thinks: “I’m ready for anything....I hope he enjoys this as much as I do.” At other points, the efforts to be shocking devolve into bewildering weirdness. While questioning Abishag, for example, Bathsheba resorts to peculiar interrogation techniques: “The Queen tore her blouse open and commanded, ‘Now suck them and choke. Choke and swear you are telling me the truth!’ ”

A wildly inventive but sometimes comical erotic novel.

Pub Date: Feb. 11, 2018

ISBN: N/A

Page Count: 437

Publisher: BookBaby

Review Posted Online: Feb. 27, 2018

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THE MOST FUN WE EVER HAD

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...

Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.

Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.

Pub Date: June 25, 2019

ISBN: 978-0-385-54425-2

Page Count: 544

Publisher: Doubleday

Review Posted Online: March 3, 2019

Kirkus Reviews Issue: March 15, 2019

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THEN SHE WAS GONE

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.

Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Pub Date: April 24, 2018

ISBN: 978-1-5011-5464-5

Page Count: 368

Publisher: Atria

Review Posted Online: Feb. 5, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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