An irreverent novel that gleefully spins the plot into preposterousness.


Let There Be Linda

Estranged brothers have a chance to reconcile when pursued by a ruthless loan shark and faced with caring for their mother, just back from the dead, in Leder’s (Juggler, Porn Star, Monkey Wrench, 2014, etc.) comic thriller.

Talent agent Danny Miller owes a hefty chunk of change to the sadistic Harvey Mineral and his muscle, Omar Creech. But Danny gets an idea from Jenny Stone, seeking representation for her (literally) unbelievable ability to bring dead things back to life. Danny has seen Jenny’s power work and knows some people will pay top dollar to have a loved one returned. Like Danny’s dentist, Donald Greenburg, who lost his cherished poodle, Chachi, to Harvey’s cruelty. Danny brings in accountant brother Mike, recently unemployed after his firm cut him loose due to accusations of embezzlement. Donald unfortunately foots the $75,000 resurrection bill by borrowing from Harvey, so the loan shark and Omar are keeping close eyes on the cash. Likewise interested in the money are cop/stand-up comic Gary Shuler and insane real estate developer Judd Martin, who blames Mike for bankrupting him. To combat Danny and Mike’s endless bickering, stemming from Mike’s swearing to late mom Linda that he’d look after Danny, Jenny suggests bringing Linda back to release Mike from his oath. But Jenny’s service has a side effect: Linda and Chachi are decidedly more aggressive than usual—and occasionally lethal. The novel is a zany tale that tosses logic out the window: Mike, for example, is honor-bound by the oath but not bothered by stealing Linda’s body from the mortuary. Leder’s breezy, tongue-in-cheek narrative is a zombie story in which the walking dead aren’t even the biggest threat. A few jokes are repetitive, like references to Mike’s weight; Omar incessantly calls him Moby Dick. But off-kilter characters result in hysterical antics. Gary steals the spotlight: he willingly acknowledges his Oreos addiction and voluntarily puts himself in danger (including a dunk in a piranha tank) for material to use in his stand-up. The final act goes for the jugular, thanks to the welcome introduction of a chain saw, while a possible love triangle between Jenny and the brothers takes a cheeky turn.

An irreverent novel that gleefully spins the plot into preposterousness.

Pub Date: N/A


Page Count: -

Publisher: Laugh Riot Press

Review Posted Online: Jan. 28, 2016

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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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