An intricate and often beautiful magical realist treatment of the South.

THE THROUGH

A debut literary novel tells the story of a couple confronted by surreal elements from the South’s troubled past.

Adrian Dussett is a woman haunted by her past. Molested as a child by a friend of her mother’s, she developed a shell to protect her inner self from the world even though this casing has kept her from finding happiness and love. After Katrina destroys her native New Orleans—her former abuser drowns and Adrian herself only escapes the flood by sawing her way onto her mother’s roof—she ends up in the quiet town of Northport, Alabama. From the outside, her life appears normal. She operates a charitable investment firm and lives with her supportive boyfriend, Ben Hughes. But Adrian begins to see things that she can’t explain to other people: a doppelgänger of her dead mother; a ghost ship sailing through the clouds; a cicada emerging fully formed from a cut in her palm. It might be madness or PTSD, but it might have something to do with the mysterious black town of Okahika—which seems to exist simultaneously in different states throughout the South—and the folklore associated with it. As Adrian and Ben suffer through intrusions into the life they’ve tried to build, they are pulled back into the checkered history of the region and their people, where the waters of African myth and American tragedy mingle in anticipation of the coming flood. Johnson writes in a lyrical prose that blends the vernacular voice with crisp images and an ear for music: “The area used to be a black neighborhood, but it’s just a vacant lot now. There are no buildings left for a haint to haunt, but if one popped out of the pokeweed berries and said how you be baby, I’d say awrite.” The narration jumps among Adrian, Ben, and the educational podcasts that he listens to—the influence of African masks on Picasso, the sculptures of Willie Cole. This grounds the magical realist elements of the plot in sensible (if not always reliable) narrators. The book is disjointed, fluid, and perhaps overstuffed with motifs, but its unpredictable turns and metafictional flourishes should appeal to fans of challenging literary novels.

An intricate and often beautiful magical realist treatment of the South.

Pub Date: Nov. 1, 2017

ISBN: N/A

Page Count: 212

Publisher: Jaded Ibis Press

Review Posted Online: Sept. 14, 2017

Kirkus Reviews Issue: Oct. 15, 2017

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

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DEVOLUTION

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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Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of...

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IT ENDS WITH US

Hoover’s (November 9, 2015, etc.) latest tackles the difficult subject of domestic violence with romantic tenderness and emotional heft.

At first glance, the couple is edgy but cute: Lily Bloom runs a flower shop for people who hate flowers; Ryle Kincaid is a surgeon who says he never wants to get married or have kids. They meet on a rooftop in Boston on the night Ryle loses a patient and Lily attends her abusive father’s funeral. The provocative opening takes a dark turn when Lily receives a warning about Ryle’s intentions from his sister, who becomes Lily’s employee and close friend. Lily swears she’ll never end up in another abusive home, but when Ryle starts to show all the same warning signs that her mother ignored, Lily learns just how hard it is to say goodbye. When Ryle is not in the throes of a jealous rage, his redeeming qualities return, and Lily can justify his behavior: “I think we needed what happened on the stairwell to happen so that I would know his past and we’d be able to work on it together,” she tells herself. Lily marries Ryle hoping the good will outweigh the bad, and the mother-daughter dynamics evolve beautifully as Lily reflects on her childhood with fresh eyes. Diary entries fancifully addressed to TV host Ellen DeGeneres serve as flashbacks to Lily’s teenage years, when she met her first love, Atlas Corrigan, a homeless boy she found squatting in a neighbor’s house. When Atlas turns up in Boston, now a successful chef, he begs Lily to leave Ryle. Despite the better option right in front of her, an unexpected complication forces Lily to cut ties with Atlas, confront Ryle, and try to end the cycle of abuse before it’s too late. The relationships are portrayed with compassion and honesty, and the author’s note at the end that explains Hoover’s personal connection to the subject matter is a must-read.

Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of the survivors.

Pub Date: Aug. 2, 2016

ISBN: 978-1-5011-1036-8

Page Count: 320

Publisher: Atria

Review Posted Online: May 31, 2016

Kirkus Reviews Issue: June 15, 2016

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