Unambitious but engaging tales about friendship and adventure for nostalgic 40-somethings to read with their kids or to keep...




Four boys form a club to investigate haunted houses while navigating the challenges of neighborhood bullies, mean dogs, nosy sisters and not getting in trouble in DeGrado’s double-header YA adventure.

DeGrado’s work (Savior, 2001, etc.) comprises two young-adult tales. “The Round House” introduces the mystery-chasing quartet: Louie, narrator and resident of the double-wide trailer where a storytelling ritual evolves into the adventure-seeking Questors Club; Mike, his bug-loving little brother; shoe-obsessed Shane, stuck with parents who only let him stay over occasionally; and Chad, Louie and Mike’s frail neighbor. “The Moaning Walls” brings the chills closer to home: Strange sounds come from the attic, there’s a creepy vibe in the unused stables, and a grave in Shane’s yard makes the boys fear that he’s in mortal danger. Added to the mix in “The Moaning Walls” is mentor Ms. Brown, inexplicably teaching an open lab class on unexplained phenomena at their school. Preteen readers will easily insert themselves into the goofy, spooky but not really scary challenges the Questors create for themselves, which transform dusty furniture and weird sounds in the night into mysterious expeditions of sneaking around in the dark and anticipating certain death at every turn, and older readers will also appreciate the implicit story of friendship deepening in the short period when boys are ready to explore the idea of being men. The 1980s setting recalls the days when cellphones and Facebook weren’t part of a boy’s world, when they had to retreat to their treehouse to make plans away from prying adult ears. A third adventure is mentioned at the end of the book, and the structure established in the first two works could easily be continued as a series.

Unambitious but engaging tales about friendship and adventure for nostalgic 40-somethings to read with their kids or to keep them hooked into reading once they’ve made their way through their parents’ old Hardy Boys collection.

Pub Date: Sept. 10, 2012

ISBN: 978-1475944693

Page Count: 326

Publisher: iUniverse

Review Posted Online: Jan. 4, 2013

Did you like this book?

No Comments Yet

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


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

Did you like this book?

Suspenseful, full of incident, and not obviously necessary.


Atwood goes back to Gilead.

The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.

Suspenseful, full of incident, and not obviously necessary.

Pub Date: Sept. 10, 2019

ISBN: 978-0-385-54378-1

Page Count: 432

Publisher: Nan A. Talese

Review Posted Online: Sept. 4, 2019

Kirkus Reviews Issue: Sept. 15, 2019

Did you like this book?

No Comments Yet