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




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


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.


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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Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

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Inseparable identical twin sisters ditch home together, and then one decides to vanish.

The talented Bennett fuels her fiction with secrets—first in her lauded debut, The Mothers (2016), and now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. Desiree, the “fidgety twin,” and Stella, “a smart, careful girl,” make their break from stultifying rural Mallard, Louisiana, becoming 16-year-old runaways in 1954 New Orleans. The novel opens 14 years later as Desiree, fleeing a violent marriage in D.C., returns home with a different relative: her 8-year-old daughter, Jude. The gossips are agog: “In Mallard, nobody married dark....Marrying a dark man and dragging his blueblack child all over town was one step too far.” Desiree's decision seals Jude’s misery in this “colorstruck” place and propels a new generation of flight: Jude escapes on a track scholarship to UCLA. Tending bar as a side job in Beverly Hills, she catches a glimpse of her mother’s doppelgänger. Stella, ensconced in white society, is shedding her fur coat. Jude, so black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her white persona is a tour de force of doubling and confusion. It calls up Toni Morrison’s The Bluest Eye, the book's 50-year-old antecedent. Bennett's novel plays with its characters' nagging feelings of being incomplete—for the twins without each other; for Jude’s boyfriend, Reese, who is trans and seeks surgery; for their friend Barry, who performs in drag as Bianca. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress.

Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

Pub Date: June 2, 2020

ISBN: 978-0-525-53629-1

Page Count: 352

Publisher: Riverhead

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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