An entertaining, uniquely constructed story of redemption, class warfare, and consequence, with themes both relevant and...



As Wentling’s (Dead Cow Road, 2017, etc.) fifth novel opens, Juan Eduardo de Mejia begins sharing personal lifetime memories with the rat he’s named “Savior” who lives in his jail cell walls.

Set in the mid-20th century, Juan gushes about being the son of distinguished, respected physician Don Ernesto Tomás Mejia, who’d saved a poverty-stricken community from certain doom when catastrophic floodwaters saturated their homeland of Sinoteca decades earlier. A local hero, his father also rose to prominence as the leader of their rebuilt city. Wentling writes his narrative with an uncanny urgency as Juan’s life plays out over a series of flashbacks and vividly described scenes, including Sinoteca’s rich history and Don Ernesto’s marriage to Elena Portillo Del Campo, Juan’s mother. As his history is revealed, Juan confesses that his birth caused the tragic death of Elena, a woman “he never knew but idolized.” Even after falling into a trauma-induced coma, his father became nominated to run for president of their home country, Catrasia. Wentling’s novel is well-paced, assuredly written, and cleverly plotted: Juan’s jail sentence is left unexplained until the final third of the book. The protagonist recounts further the story of his childhood: He was raised by a foster family in the elevated mountainous region surrounding Sinoteca and renamed Antonio Gomez to shield him from his father’s political enemies. In adulthood, Juan/Antonio becomes a beloved schoolteacher, then relocates to the Sinoteca Valley, where he becomes an ally to the impoverished populace there and a witness to the region’s simmering social injustices. His advocacy on behalf of the indigent citizens and defiance against Sinoteca’s new dictatorship becomes violent and lands Juan/Antonio in prison as the novel comes full circle with a particularly satisfying grace and balance. Though Wentling waits until the final third of his tale to reveal the nature of his lonely protagonist’s destiny, readers will appreciate the narrative tension he cultivates and the strong sense of human rights leadership and sacrifice drummed up by his compellingly altruistic lead character.

An entertaining, uniquely constructed story of redemption, class warfare, and consequence, with themes both relevant and timely.

Pub Date: N/A


Page Count: 214

Publisher: Kurti Publishing

Review Posted Online: Oct. 10, 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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