A raw and sophisticated debut.
An ex-journalist falls into a churning vortex of dark secrets when she’s hired to archive a famous photographer’s personal effects.
In 2017, after a harrowing incident ruined 30-year-old Kate Aitken’s journalism career, she’s eager to leave New York for sunny California and the idyllic little hamlet of Callinas, where her sweet but nosy Aunt Louise and Uncle Frank will put her up while she archives the tangible remains of controversial photographer Miranda Brand’s life and work, a gig they hooked her up with. Miranda’s husband, Jake, a painter, has recently died, leaving their son, Theo, with a hoarder’s paradise of letters, documents, and possibly even a few of Miranda’s viscerally intimate photos, which would be worth a fortune. Kate's first meeting with the enigmatic Theo, who's recently been divorced, is tense, but Theo’s two small children, Jemima and Oscar, dull his sharp edges, and Kate soon becomes so immersed in her work that returning to Louise and Frank’s home every evening is akin to waking from a fever dream. And they're eager for details. Miranda’s death at 37 was ruled a suicide, but questions remain, and rumors, such as then 11-year-old Theo’s possible culpability, persist. Kate, bound by a nondisclosure agreement, must remain silent but wonders if Miranda might have actually been murdered. When Kate discovers Miranda’s diary, which often reads like dark poetry, she begins to feel an uneasy kinship with the artist, whose life was fractured by domestic violence, mental illness, and the inexorable demands of fame, motherhood, and the creative process. Kate’s obsessive inquiry into Miranda’s death and her growing attraction to Theo soon threaten to unravel the delicate threads of her new life and her increasingly precarious state of mind. Kate and Miranda are vividly rendered, and an entire novel could easily be crafted out of Miranda’s fascinating diary, letters, and other ephemera, snippets of which are sprinkled liberally throughout. Sligar delivers an intriguing mystery while tackling big themes, especially sexism and the societal restraints placed on women’s bodies and minds. The results are spellbinding.
A raw and sophisticated debut.Pub Date: April 28, 2020
ISBN: 978-0-374-27261-6
Page Count: 368
Publisher: MCD/Farrar, Straus and Giroux
Review Posted Online: Jan. 26, 2020
Kirkus Reviews Issue: Feb. 15, 2020
BOOK REVIEW
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. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
Amateurish, with a twist savvy readers will see coming from a mile away.
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
BOOK REVIEW
BOOK REVIEW
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