Tongue-in-cheek literary amendments, all done without ridicule or a pretense of improving the beloved original.

MARY SHELLEY'S FRANKENSTEIN

NOW WITH EXTRA MONSTERS!

Laidlaw (400 Boys and 50 More, 2016, etc.) revamps Shelley’s horror classic to include a bevy of monsters throughout the entire narrative.

Laidlaw presents readers with an ambitious Minimum Monster Guarantee—“At Least One Monster Per Paragraph,” he claims. He further promises that Shelley’s original text is intact, with all the new material merely additions. While the novel is in the mashup style of Stephen Grahame-Smith’s Pride and Prejudice and Zombies, Laidlaw changes very little of the Frankenstein story. Many references to creatures are superficial, albeit amusing. For example, Victor Frankenstein notes that his love Elizabeth’s illness puts her “in the greatest danger it was possible to be in without a vampire feeding upon her or an alien chest-burster actually shooting out of her breast while she lay abed.” Still, the expanded tale is often humorous, and some of the modifications are outright shocking, including young Felix, who has an affinity for torturing animals. Laidlaw, meanwhile, effectively fuses his voice with Shelley’s. Accordingly, his contribution to the opening of Chapter 10 genuinely sounds like Victor’s woeful narration: “After a morning spent screaming in horror, I spent the following day roaming through the valley.” Monsters don’t make it into every paragraph; readers on occasion will have to suffice with lurid adjectives like “hideous” or the blunter “monstrous.” In the same vein, there are myriad horror films and TV shows cited, which reaches a crescendo in gleeful absurdity when Victor describes a castle as “something out of a Dracula or Frankenstein movie.” This likewise allows for an encyclopedia of horror icons mentioned, from literary (H.P. Lovecraft’s Cthulhu) to cinematic (Godzilla and the Xenomorph aliens). Nevertheless, it’s hard to miss a few inconsistencies. Movie character Freddy Krueger’s name is spelled three different ways, and a pledge to avoid “random obscenities” is contradicted by preceding and subsequent expletives.

Tongue-in-cheek literary amendments, all done without ridicule or a pretense of improving the beloved original.

Pub Date: Dec. 7, 2017

ISBN: N/A

Page Count: 249

Publisher: Freestyle Press

Review Posted Online: Jan. 29, 2018

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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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Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of...

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IT ENDS WITH US

Hoover’s (November 9, 2015, etc.) latest tackles the difficult subject of domestic violence with romantic tenderness and emotional heft.

At first glance, the couple is edgy but cute: Lily Bloom runs a flower shop for people who hate flowers; Ryle Kincaid is a surgeon who says he never wants to get married or have kids. They meet on a rooftop in Boston on the night Ryle loses a patient and Lily attends her abusive father’s funeral. The provocative opening takes a dark turn when Lily receives a warning about Ryle’s intentions from his sister, who becomes Lily’s employee and close friend. Lily swears she’ll never end up in another abusive home, but when Ryle starts to show all the same warning signs that her mother ignored, Lily learns just how hard it is to say goodbye. When Ryle is not in the throes of a jealous rage, his redeeming qualities return, and Lily can justify his behavior: “I think we needed what happened on the stairwell to happen so that I would know his past and we’d be able to work on it together,” she tells herself. Lily marries Ryle hoping the good will outweigh the bad, and the mother-daughter dynamics evolve beautifully as Lily reflects on her childhood with fresh eyes. Diary entries fancifully addressed to TV host Ellen DeGeneres serve as flashbacks to Lily’s teenage years, when she met her first love, Atlas Corrigan, a homeless boy she found squatting in a neighbor’s house. When Atlas turns up in Boston, now a successful chef, he begs Lily to leave Ryle. Despite the better option right in front of her, an unexpected complication forces Lily to cut ties with Atlas, confront Ryle, and try to end the cycle of abuse before it’s too late. The relationships are portrayed with compassion and honesty, and the author’s note at the end that explains Hoover’s personal connection to the subject matter is a must-read.

Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of the survivors.

Pub Date: Aug. 2, 2016

ISBN: 978-1-5011-1036-8

Page Count: 320

Publisher: Atria

Review Posted Online: May 31, 2016

Kirkus Reviews Issue: June 15, 2016

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