Ignoring part six, Bailey’s book will remind readers of human connectivity, while it frightens and entertains.



A creative effort takes horror to new heights in well-paced, semi-interconnected stories.

  Novelist, short story author and poet Bailey’s (Phoenix Rose, 2009) first novel, a finalist in the Independent Publisher Book Awards for horror fiction, is contemporary literary horror, an energizing departure from gothic or romantic pastiche and genre favorites of witches, creatures and demonic spirits. Bailey’s horror is family drama, where both compassionate and abusive relationships anchor characters in environments that are at best uncertain and often harrowing and cruel. In unusually symbolic prose that may attract or repel genre enthusiasts, the book’s six parts tell of a young father’s struggle with suicide, the violent source of a couple’s marital dysfunction, superlative child abuse in an orphanage, a psychiatrist treating a paranormal patient and school-aged friends thwarting a bully. The book’s strengths are its suspense, the subtle way the narratives connect through chance and the peripheral appearance of a young woman named Julie. Bailey has a good sense of timing and when plot should accelerate; the suspense is palpable and enjoyable, even when the story is gruesome. Despite the different situations of his characters, most voices come across as vaguely post-adolescent and male—impetuous, reactionary and overly concerned with sex and bodily functions. There’s a lot of talk of bed-wetting and toned, lascivious young women like Julie, whose name also appears in emboldened text throughout the book. The reader is intended to pull a sixth story, that of Julie and her daughter, “Palindrome Hannah,” from this text. However, this is nearly impossible, as the text is a pronoun-heavy syntactical forest, with ideas continuing across tens of pages. Bailey’s literary creativity is an exciting turn for the genre, but it bears too heavily on the book. Infusing a story with palindromes can be flashy in short form, but drawn-out in a novel, it feels washed out and contributes little to the storytelling. In naming his book after a thin plot device and thinner character, Bailey seems to not know his own strengths.  

Ignoring part six, Bailey’s book will remind readers of human connectivity, while it frightens and entertains.

Pub Date: Oct. 17, 2011

ISBN: 978-1466243750

Page Count: 318

Publisher: CreateSpace

Review Posted Online: Dec. 14, 2011

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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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More Hallmarkiana, from a shameless expert in the genre.


High-stakes weepmeister Sparks (A Walk to Remember, 1999, etc.) opts for a happy ending his fourth time out. His writing has improved—though it's still the equivalent of paint-by-numbers—and he makes use this time of at least a vestige of credible psychology.

That vestige involves the deep dark secret—it has something to do with his father's death when son Taylor was nine—that haunts kind, good 36-year-old local contractor Taylor McAden and makes him withdraw from relationships whenever they start getting serious enough to maybe get permanent. He's done this twice before, and now he does it again with pretty and sweet single mother Denise Holton, age 29, who's moved from Atlanta to Taylor's town of Edenton, North Carolina, in order to devote her time more fully to training her four-year-old son Kyle to overcome the peculiar impediment he has that keeps him from achieving normal language acquisition. Okay? When Denise has a car accident in a bad storm, she's rescued by volunteer fireman Taylor—who also rescues little Kyle after he wanders away from his injured mom in the storm. Love blooms in the weeks that follow—until Taylor suddenly begins putting on the brakes. What is it that holds him back, when there just isn't any question but that he loves Denise and vice versa-not to mention that he's "great" with Kyle, just like a father? It will require a couple of near-death experiences (as fireman Taylor bravely risks his life to save others); emotional steadiness from the intelligent, good, true Denise; and the terrible death of a dear and devoted friend before Taylor will come to the point at last of confiding to Denise the terrible memory of how his father died—and the guilt that's been its legacy to Taylor. The psychological dam broken, love will at last be able to flow.

More Hallmarkiana, from a shameless expert in the genre.

Pub Date: Sept. 19, 2000

ISBN: 0-446-52550-2

Page Count: 352

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 2000

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