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TO LEAVE A MEMORY

Compared with other grieving families in literature, the Wards don’t plumb the depths of their emotions, but they...

A wife reconsiders leaving her stagnant marriage when her husband suffers a stroke, and the family must band together despite long-harbored resentments.

It’s been 30 years since the Wards’ beloved son died in a car crash, but the grief has remained. Their communication stunted, their sex life gone, Lizzy Ward and her husband, Andrew, a retired professor, have whittled their marriage down to merely orbiting around each other. Even their daughter, Jane, now married with three kids and a busy schedule, notices her mother’s unhappiness. On the night Billy died, Andrew had given him permission to go out, despite a terrible storm and Lizzy’s premonition that something would happen; for this, Lizzy has never forgiven him. She confides in Ouisie, her best friend from church, about wanting to leave the painful marriage. But while working on his historical novel about the Wards’ ancestors, Andrew suffers a severe stroke. Lizzy then can’t imagine leaving him alone in the hospital, let alone walking out on their marriage. Andrew’s brother and sister are summoned, straining their already distant relationship as a family. There are often long flashbacks to Andrew’s childhood, showcasing his mean brother and kid sister. He begins to recover from the stroke, although his verbal dyspraxia has him spitting curse words and bumbling names. Lizzy, as his caretaker, warms to him again, and their relationship reblooms. Andrew returns to his novel, which is presented as a story within a story. He suffers another stroke, and Lizzy, Jane and others are prompted to bring forgiveness to the forefront of their family. From the opening chapters, the axis of the novel seems to be the loss of their son, but as the novel goes on, it seems that other experiences are influencing the characters. Readers never quite get to the heart of what ailed Andrew before his strokes; despite vivid flashbacks to his brother’s cruelty, it’s unclear why they’re part of the novel. Secondary characters play well alongside Lizzy and Andrew, evident in Jane’s flirtatious banter with her husband and Ouisie’s role as the giggling friend. There’s a pleasing amount of healthy talk about sex, although jokes of a sexual nature, and Andrew’s sailor mouth, are sometimes stale comic relief. Yet the colorful dialogue keeps the story moving, sidetracked occasionally by the extensive novel-within-a-novel and many childhood flashbacks. Forgiveness comes in moments sentimental but tender, and even Andrew’s poststroke syntax has a chance to shine.

Compared with other grieving families in literature, the Wards don’t plumb the depths of their emotions, but they nevertheless provide a warm portrait of a family coming together to forgive.

Pub Date: N/A

ISBN: N/A

Page Count: -

Publisher: Dog Ear Publisher

Review Posted Online: Nov. 12, 2015

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DEVOLUTION

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

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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. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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THE SILENT PATIENT

Amateurish, with a twist savvy readers will see coming from a mile away.

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A woman accused of shooting her husband six times in the face refuses to speak.

"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.

Amateurish, with a twist savvy readers will see coming from a mile away.

Pub Date: Feb. 5, 2019

ISBN: 978-1-250-30169-7

Page Count: 304

Publisher: Celadon Books

Review Posted Online: Nov. 3, 2018

Kirkus Reviews Issue: Nov. 15, 2018

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