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AMERICAN FAUST

An inventive but uneven tale about what people will do to get what they want.

In this debut literary novel, three people from different decades are ensnared in one diabolical plot.

Italy, 1917. Lawrence “Worthy” Worthington, a young, hedonistic soldier fighting in World War I, meets a German field marshal named Baron Memphis von Topheles. The baron grants Worthy eternal life, and all the soldier has to do in exchange is seduce young mothers and deliver them to Memphis. New York City, 1969. Divorced mother of two Sharon Peters finds herself in a hell-themed club in the depths of Greenwich Village. There, she meets the “Master Magician,” Memphis Topheles, who offers her a deal: He will make her young forever as long as she is willing to abandon her children and lure men into his service. California, 2000. James Harris is a young novelist-turned-entrepreneur who dreams of bringing the world together through technology. The only problem is he’s in desperate need of capital. At an investor event at the famous Hearst Castle, he meets Memphis Topheles, known as the Chairman, a venture capitalist wealthy enough to bankroll James’ utopian project. In exchange, he just needs James to travel to the old Revson property in Connecticut—a place James knows for a fact burned down years ago—and convince the woman who lives there to leave her husband. “If you can handle what you are about to step into,” the Chairman tells him, “you will have proven you are capable of surviving anything the business world might throw at you.” James agrees and travels to the old Revson place, though he isn’t sure what he will find there. He’s struck by a car in the property’s driveway, and when he comes to, his body is fine but his memory is damaged. The man and the woman are there, just as the Chairman warned him. But James’ mission proves much more difficult than he could ever have imagined—particularly since the house he’s entered seems to exist outside of time.

Brown’s prose is urgent and economical, as here where James begins to have some suspicions about just what’s going on at the Revson house: “Sharon darted like a deer to get inside, but he got to the door first and blocked her. ‘Tell me who you are, tell me who you are really,’ he said. ‘Let go of me!’ she shouted. ‘Out of my way!’ She thrust her elbow in his side and he buckled, grabbing her down. She fell on top and cried in pain.” The story’s structure is complex and full of surprises. The pleasure of the book is in figuring out how the various pieces of the tale fit together. It’s clear that the author has high literary ambitions—an early scene takes place at a party in Henry Miller’s Big Sur cabin, and classic American writers are referenced throughout—but unfortunately, his characters are thin. Memphis is a cartoon villain, and not in a fun way. In the rare scene where James produces an emotional reaction in readers, it’s a mildly negative one. It’s a shame there isn’t more here for the audience to latch on to, given the puzzlelike imagination that Brown displays.

An inventive but uneven tale about what people will do to get what they want.

Pub Date: N/A

ISBN: N/A

Page Count: 405

Publisher: Manuscript

Review Posted Online: Jan. 20, 2022

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THE WOMEN

A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.

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A young woman’s experience as a nurse in Vietnam casts a deep shadow over her life.

When we learn that the farewell party in the opening scene is for Frances “Frankie” McGrath’s older brother—“a golden boy, a wild child who could make the hardest heart soften”—who is leaving to serve in Vietnam in 1966, we feel pretty certain that poor Finley McGrath is marked for death. Still, it’s a surprise when the fateful doorbell rings less than 20 pages later. His death inspires his sister to enlist as an Army nurse, and this turn of events is just the beginning of a roller coaster of a plot that’s impressive and engrossing if at times a bit formulaic. Hannah renders the experiences of the young women who served in Vietnam in all-encompassing detail. The first half of the book, set in gore-drenched hospital wards, mildewed dorm rooms, and boozy officers’ clubs, is an exciting read, tracking the transformation of virginal, uptight Frankie into a crack surgical nurse and woman of the world. Her tensely platonic romance with a married surgeon ends when his broken, unbreathing body is airlifted out by helicopter; she throws her pent-up passion into a wild affair with a soldier who happens to be her dead brother’s best friend. In the second part of the book, after the war, Frankie seems to experience every possible bad break. A drawback of the story is that none of the secondary characters in her life are fully three-dimensional: Her dismissive, chauvinistic father and tight-lipped, pill-popping mother, her fellow nurses, and her various love interests are more plot devices than people. You’ll wish you could have gone to Vegas and placed a bet on the ending—while it’s against all the odds, you’ll see it coming from a mile away.

A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.

Pub Date: Feb. 6, 2024

ISBN: 9781250178633

Page Count: 480

Publisher: St. Martin's

Review Posted Online: Nov. 4, 2023

Kirkus Reviews Issue: Dec. 1, 2023

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THE FAMILIAR

Lush, gorgeous, precise language and propulsive plotting sweep readers into a story as intelligent as it is atmospheric.

In 16th-century Madrid, a crypto-Jew with a talent for casting spells tries to steer clear of the Inquisition.

Luzia Cotado, a scullion and an orphan, has secrets to keep: “It was a game she and her mother had played, saying one thing and thinking another, the bits and pieces of Hebrew handed down like chipped plates.” Also handed down are “refranes”—proverbs—in “not quite Spanish, just as Luzia was not quite Spanish.” When Luzia sings the refranes, they take on power. “Aboltar cazal, aboltar mazal” (“A change of scene, a change of fortune”) can mend a torn gown or turn burnt bread into a perfect loaf; “Quien no risica, no rosica” (“Whoever doesn’t laugh, doesn’t bloom”) can summon a riot of foliage in the depths of winter. The Inquisition hangs over the story like Chekhov’s famous gun on the wall. When Luzia’s employer catches her using magic, the ambitions of both mistress and servant catapult her into fame and danger. A new, even more ambitious patron instructs his supernatural servant, Guillén Santángel, to train Luzia for a magical contest. Santángel, not Luzia, is the familiar of the title; he has been tricked into trading his freedom and luck to his master’s family in exchange for something he no longer craves but can’t give up. The novel comes up against an issue common in fantasy fiction: Why don’t the characters just use their magic to solve all their problems? Bardugo has clearly given it some thought, but her solutions aren’t quite convincing, especially toward the end of the book. These small faults would be harder to forgive if she weren’t such a beautiful writer. Part fairy tale, part political thriller, part romance, the novel unfolds like a winter tree bursting into unnatural bloom in response to one of Luzia’s refranes, as she and Santángel learn about power, trust, betrayal, and love.

Lush, gorgeous, precise language and propulsive plotting sweep readers into a story as intelligent as it is atmospheric.

Pub Date: April 9, 2024

ISBN: 9781250884251

Page Count: 400

Publisher: Flatiron Books

Review Posted Online: Feb. 3, 2024

Kirkus Reviews Issue: March 1, 2024

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