An uneven Native American tale that offers some entertaining elements.



A Native American legend about a brave young woman who helps save her tribe gets a humorous retelling in this novel.

In the early 1700s, the Onguiaahra tribe lives near what is now called Niagara Falls. Lelewala, a Native American “princess”—her father is Chief Honovi—grows up loving to spin tales and wants to become a storyteller. Her friends include Frekki, a red wolf; Moki, a squirrel; and Jaci, a cardinal. One day, Lelewala’s brother Dyani accidentally shoots his friend Inola with an arrow, killing him. He blames Lelewala’s distracting storytelling, and she runs away. An owl (actually the evil snake maiden Chumana in disguise) advises her to ride the Niagara rapids, a feat that will impress the village. Chumana hopes to capture Lelewala’s canoe and steal her gift of storytelling, but is foiled by Heno, the God of Thunder, who lives in a vast cave behind the falls. His son Janok, a restless adolescent, finds Lelewala and takes her to his home. Over four years, the young couple fall in love, but Chumana plots to impersonate Lelewala, go to her tribe, and “rewrite the history of the elders, the whole Indian nation, and of all those who explore The Land. She who writes history, controls it!” Lelewala must risk her life and happiness with Janok to help her tribe fight a great battle. Franckowiak (The Maid of the Mist, 2018, etc.) is the author of a picture book starring Lelewala. Much about her novel resembles an enjoyable Disney cartoon: a princess-y protagonist, animal friends, pop-culture references, and even musical numbers. Janok sings “of how, for a long time, he’d been thinking about everything in the world that he wanted to see.” Some YA and younger readers will enjoy this fun, winking tale. Unfortunately, the story goes directly against the book’s purported ethos of not rewriting history. Some facts get altered: For example, the Onguiaahras died out in the mid-1600s; chiefs weren’t royalty, so the Native American “princess” trope is misleadingly Westernized; Chumana is a Hopi name; and dream catchers are an Ojibway tradition.

An uneven Native American tale that offers some entertaining elements.

Pub Date: Dec. 4, 2018


Page Count: -

Publisher: Time Tunnel Media

Review Posted Online: Feb. 3, 2019

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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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