A gothic, ghoulish, but enjoyable version of Holmes.
Zombies take on the Victorian supersleuth in this debut homage to the Arthur Conan Doyle detective series.
It’s 1888, and Sherlock Holmes, assisted by newlywed John H. Watson and a posse of street urchins, comes to the aid of Anne Prescott, a nurse whose sister and fiance have disappeared. In improbably short order, he figures out the basics of the mystery: Mad scientist Emil LaLaurie is using a brain-destroying infection, assisted by the voodoo rituals of his confederate Alcee Sauvage, to turn slum dwellers into zombies. The ensuing struggle to stop the villains is a well-rendered tribute to the Conan Doyle classics that retains the original style while updating the sensibility with combat feminism, queasy sex, and torrents of gore. Roaming a foggy, atmospheric London, Holmes is his old self, bursting with know-it-all pedantry (“It is perhaps a compound word from several terms in West African Kikongo…‘nzambi’ and ‘zumbi’ ”), unlikely deductions (“The particular callous patterns on the man’s right hand, the many injuries to his left, and the discoloration of his trouser legs all speak of a man accustomed to repairing shoes”), and curlicued trash talk (“I wish to assure you…that I am the least worthy of the agents of justice who will fall upon you soon and take you down to ruin”). But he’s also modern enough to declare that “it is high time, Watson, that we treat women as our equals,” and to insist that Anne get samurai training. The latter comes in handy as the heroes confront hordes of rotting, snarling, brain-eating, galumphing undead and mete out old-school dismemberments and beheadings. The grisly violence—“The meaty ‘snick-snack’ sound of a razor-sharp blade slicing through flesh and bone came from my right….The head spun for a second in the air above the creature’s torso, and a weird giggle escaped my lips”—darkens Downing’s vigorous series opener. So does Watson’s agitation as he conceives an ungentlemanly desire for the gorgeous Anne that only grows more intense as she gradually zombifies after getting bitten. Holmes fans may find the video game carnage and Watson’s somber obsessions to be a tonal clash with the Conan Doyle aesthetic of cerebral cool, but the brisk action and pitch-perfect Sherlock-ian aplomb make for a page-turner.
A gothic, ghoulish, but enjoyable version of Holmes.Pub Date: June 1, 2019
ISBN: 978-0-9995083-4-3
Page Count: 270
Publisher: Burns and Lea Media LLC
Review Posted Online: March 28, 2019
Kirkus Reviews Issue: May 1, 2019
Review Program: Kirkus Indie
BOOK REVIEW
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her...
Another middle-aged mom in a muddle.
After years of false starts and big hopes, Elizabeth’s ruggedly handsome husband Jack, a former football star, just landed a spot as a sportscaster on national news. He still loves her, even though much younger women are giving him come-hither looks. Heck, he doesn’t want to betray the love of his life after she helped him kick drugs and stuck by him even when he was a struggling has-been. And won’t it seem hypocritical if he fools around with his sexy assistant while he does in-depth reporting on a rape case involving a famous basketball center? Well, he fools around anyway. Elizabeth, nicknamed Birdie, knows nothing of this, but she withdraws from Jack when her hard-drinking, salt-of-the-earth father has a stroke and dies. Now no one will call her “sugar beet” ever again. Time to return home to Tennessee and contend with Anita, the sort-of-evil stepmother so trashy she wears pink puffy slippers all day long. Naturally, it turns out that Anita actually has a heart of gold and knows a few things about Birdie’s dead mother that were hushed up for years. Mom was an artist, just like Birdie, and an old scandal comes to light as Anita unrolls a vibrant canvas that portrays her secret lover. Perhaps, Birdie muses, her mother died of heartbreak, never having followed her true love or developed her talent. Has she, too, compromised everything she holds dear? Hoping to find out, Birdie joins a support group that promises to reconnect confused women with their passion. She and Jack separate, prompting a how-dare-you fit from their grown daughters. Will Birdie fly her empty nest? Will she go back to college for a degree in art? Will her brooding watercolors ever sell?
Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her previous tales (Summer Island, 2001, etc.).Pub Date: July 1, 2002
ISBN: 0-345-45071-X
Page Count: 352
Publisher: Ballantine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2002
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