A strange and effective debut novel about the powerful dynamics of father-son relationships and the casual violence of...

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A STORY OF FAITH AND OBSESSION

Hickmon’s taut, gripping fiction debut journeys into a world of subversive rock-and-roll, dark perversions and deep emotional scars.

The novel opens with a scene of precisely described violence: A man named Andrew opens his front door late at night to find Chris Pesner, his girlfriend’s 14-year-old son. The boy then pepper-sprays him in the eyes, breaks his kneecap with a baseball bat and shoots him dead. The story jolts forward to show Detective William Hursel arriving at the scene of the equally grisly murder of Chris’ mother, and when he examines the boy’s room for clues, he finds lots of memorabilia of the iconoclastic heavy-metal band Rehoboam. Hursel realizes that the boy is devoted to the band, but when he questions Chris’ girlfriend, Gina, she sets him straight on his preconceived ideas: “He isn’t into drugs or devil worship or any of that,” she says. “He listens to Rehoboam because the lyrics are intelligent.” The narrative then follows Rehoboam’s leader, Josh Sebala, who has scars of his own from his harsh upbringing by his strict Baptist preacher father. Although he suffers from nightmares, he knows that he has it good: Rehoboam is a success, and he’s found the love of his life in a girl named Lindsey Leif. But the narrative steadily darkens; Josh gradually loses control of his life, and fugitive Chris gradually enters a dark world of sexual perversion and human trafficking. Through it all, Hursel doggedly moves from crime scene to crime scene in Chris’ wake. Hickmon weaves these separate plots together with an unforced ease, as when he effectively portrays Rehoboam’s struggling early years in well-deployed flashbacks. The narrative’s lean, unadorned prose becomes intensely involving as the plot hastens to its climax and Chris becomes linked in the press with the heavy-metal band he loves so much.

A strange and effective debut novel about the powerful dynamics of father-son relationships and the casual violence of amoral subcultures.

Pub Date: March 25, 2014

ISBN: N/A

Page Count: -

Publisher: Rehoboam Press

Review Posted Online: Jan. 18, 2014

Kirkus Reviews Issue: March 1, 2014

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

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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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Finding positivity in negative pregnancy-test results, this depiction of a marriage in crisis is nearly perfect.

ALL YOUR PERFECTS

Named for an imperfectly worded fortune cookie, Hoover's (It Ends with Us, 2016, etc.) latest compares a woman’s relationship with her husband before and after she finds out she’s infertile.

Quinn meets her future husband, Graham, in front of her soon-to-be-ex-fiance’s apartment, where Graham is about to confront him for having an affair with his girlfriend. A few years later, they are happily married but struggling to conceive. The “then and now” format—with alternating chapters moving back and forth in time—allows a hopeful romance to blossom within a dark but relatable dilemma. Back then, Quinn’s bad breakup leads her to the love of her life. In the now, she’s exhausted a laundry list of fertility options, from IVF treatments to adoption, and the silver lining is harder to find. Quinn’s bad relationship with her wealthy mother also prevents her from asking for more money to throw at the problem. But just when Quinn’s narrative starts to sound like she’s writing a long Facebook rant about her struggles, she reveals the larger issue: Ever since she and Graham have been trying to have a baby, intimacy has become a chore, and she doesn’t know how to tell him. Instead, she hopes the contents of a mystery box she’s kept since their wedding day will help her decide their fate. With a few well-timed silences, Hoover turns the fairly common problem of infertility into the more universal problem of poor communication. Graham and Quinn may or may not become parents, but if they don’t talk about their feelings, they won’t remain a couple, either.

Finding positivity in negative pregnancy-test results, this depiction of a marriage in crisis is nearly perfect.

Pub Date: July 17, 2018

ISBN: 978-1-5011-7159-8

Page Count: 320

Publisher: Atria

Review Posted Online: May 1, 2018

Kirkus Reviews Issue: May 15, 2018

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