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MY MOTHER SAID MY NAME

A philosophical thriller with much to say about radical campus politics and the nature of antisemitism.

A refugee from Afghanistan returns as a trained assassin on a quest for revenge in Odgaard’s novel.

In the summer of 2021, Mina Mohammad witnesses her mother’s death. The Taliban has assumed power in Afghanistan, making it illegal for women to teach. Mina’s father, an interpreter, seeks asylum in Denmark, but before the family can make their escape, Mina’s mom is kicked, beaten, and stoned by a mob led by Abdul Sayed, who declares her guilty of blasphemy. “I saw the man responsible for the stoning,” Mina later recalls. “And…I would never forget his face.” Still grieving, Mina, her father, and her sister Marlize board a plane bound for Copenhagen; after a short stay there, they relocate to Manhattan, where Mina’s dad opens an Afghan restaurant. Mina discovers an affinity for Hans Christian Andersen and Søren Kierkegaard, and she befriends an elderly gentleman, Mr. Mendelsohn, who lives in the apartment above theirs. In the course of their long walks, Mr. Mendelsohn (whose own wife fled Afghanistan in the wake of an extremist takeover) reveals his family’s long history of persecution: His maternal great-grandparents left Russia following antisemitic pogroms in the 1880s, and much of his family perished under the Nazis. Heeding his father’s words, “Antisemitism will return to Europe. Mark my words,” Mr. Mendelsohn sought safety in America. Having grown up in Afghanistan, Mina is unfamiliar with the Holocaust, and she’s shocked to learn about Hitler’s campaign of extermination during WWII. Following the attacks of October 7, 2023, campus protests spring up in defense of Hamas at Columbia, where Mina is studying international affairs. She begins to fear that antisemitism has returned, this time masquerading as social justice. Meanwhile, a mysterious woman named Mrs. Martin recruits Mina for a secret mission that could get dangerous. In the guise of a revenge narrative, Odgaard has written a novel of ideas with impressively heady reflections on capitalism, the cyclical nature of evil, and the tendency of ideologies that center colonialist oppression to become oppressive. Citing economist Thomas Piketty, Mr. Mendelsohn says that Western centrist parties have “stopped representing the political interests of the working class,” catering instead to professionals and immigrants, thereby allowing the parties to be overtaken by the radical left. His cultural and political meditations are woven so seamlessly that the book rarely feels didactic; discussions of 20th-century European history emerge organically amid Mina’s attempts to better understand the new world confronting her. Her circumstances, as a recent immigrant befriending a Jewish nonagenarian in the wake of the 2023 campus protests, make her the ideal protagonist for the story Odgaard is telling. Yet the final quarter of the book, in which Mina returns to Afghanistan as a CIA-trained assassin, feels rushed and perfunctory. Stories of this nature require a certain level of build-up to convey the dangers facing the protagonist, but events proceed at such a rapid clip that the narrative never acquires the necessary tension. That said, nesting the characters’ discussions within a spy thriller framework proves an inspired choice: It both deepens what can often be a formulaic genre and renders compelling what might otherwise have been dry ruminations on current events.

A philosophical thriller with much to say about radical campus politics and the nature of antisemitism.

Pub Date: May 13, 2026

ISBN: 9788797535882

Page Count: 380

Publisher: Grøndal

Review Posted Online: June 30, 2026

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DEVOLUTION

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

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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. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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THE SILENT PATIENT

Amateurish, with a twist savvy readers will see coming from a mile away.

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A woman accused of shooting her husband six times in the face refuses to speak.

"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.

Amateurish, with a twist savvy readers will see coming from a mile away.

Pub Date: Feb. 5, 2019

ISBN: 978-1-250-30169-7

Page Count: 304

Publisher: Celadon Books

Review Posted Online: Nov. 3, 2018

Kirkus Reviews Issue: Nov. 15, 2018

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