An often enjoyable story of a brave girl’s journey with a well-developed setting and characters.
A teenage girl in ancient times starts a sacred journey to become the first person ever to tame and ride a horse in Barnes’ debut novel.
In this story set in 4000 B.C.E. in what is now southeastern Europe, Naya is the 14-year-old daughter of Potis, the chief of her clan. She chafes against traditional rules, wishing for the freedom that the boys in her tribe are afforded. An encounter with a wild, red filly, which appears to telepathically communicate with her, secures the girl’s belief she’s meant for something more—but she must also convince her family. Her grandmother proclaims the quest Naya’s “soul journey,” but Potis is resistant, realizing that the horses could be a source of both great power and great danger. Naya tracks the herd through the grasslands, but just as she finds them, a young nomad named Aytal accidentally impales her with an arrow. Guilt-ridden, Aytal tends to Naya while his father, Oyuun, and younger brother race to find Naya’s clan. Eager to move the clan before winter, Potis agrees to let Aytal and Oyuun watch over the injured girl with the help of Naya’s mother, Sata; in exchange, Aytal’s brother remains with the clan as a hostage. The bulk of the story centers on Naya’s recovery and reconnection with the filly, Aytal’s sacrifices as atonement, and the forbidden feelings Sata and Oyuun start to have for each other. This impeccably detailed novel illuminates Naya’s journey on the ancient Pontic-Caspian steppe. Barnes skillfully develops key relationships in a manner that will make readers invested in the narrative. She also captures the tentativeness of romance and conflicts between traditions and other strong beliefs. As this is the first book of a planned series, some story elements are only hinted at—including a potential overthrow of Potis and Aytal’s punishment—and the book may have benefited from a bit more resolution. Also, the inclusion of 20 pages of supplemental material, showcasing the research that went into this book, seems overly extensive.
An often enjoyable story of a brave girl’s journey with a well-developed setting and characters.Pub Date: May 1, 2022
ISBN: 978-1-73696-733-1
Page Count: 278
Publisher: Lilith House Press
Review Posted Online: March 28, 2022
Kirkus Reviews Issue: May 1, 2022
Review Program: Kirkus Indie
PERSPECTIVES
A beautiful meditation on queer identity against a supernatural backdrop.
Three women deal very differently with vampirism in Schwab’s era-spanning follow-up to The Invisible Life of Addie LaRue (2020).
In 16th-century Spain, Maria seduces a wealthy viscount in an attempt to seize whatever control she can over her own life. It turns out that being a wife—even a wealthy one—is just another cage, but then a mysterious widow offers Maria a surprising escape route. In the 19th century, Charlotte is sent from her home in the English countryside to live with an aunt in London when she’s found trying to kiss her best friend. She’s despondent at the idea of marrying a man, but another mysterious widow—who has a secret connection to Maria’s widow from centuries earlier—appears and teaches Charlotte that she can be free to love whomever she chooses, if she’s brave enough. In 2019, Alice’s memories of growing up in Scotland with her mercurial older sister, Catty, pull her mind away from her first days at Harvard University. And though she doesn’t meet any mysterious widows, Alice wakes up alone after a one-night stand unable to tolerate sunlight, sporting two new fangs, and desperate to drink blood. Horrified at her transformation, she searches Boston for her hookup, who was the last person she remembers seeing before she woke up as a vampire. Schwab delicately intertwines the three storylines, which are compelling individually even before the reader knows how they will connect. Maria, Charlotte, and Alice are queer women searching for love, recognition, and wholeness, growing fangs and defying mortality in a world that would deny them their very existence. Alice’s flashbacks to Catty are particularly moving, and subtly play off themes of grief and loneliness laid out in the historical timelines.
A beautiful meditation on queer identity against a supernatural backdrop.Pub Date: June 10, 2025
ISBN: 9781250320520
Page Count: 544
Publisher: Tor
Review Posted Online: March 22, 2025
Kirkus Reviews Issue: April 15, 2025
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
PERSPECTIVES
PERSPECTIVES
SEEN & HEARD
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.
A retelling of Pinocchio from Geppetto's point of view.
The novel purports to be the memoirs of Geppetto, a carpenter from the town of Collodi, written in the belly of a vast fish that has swallowed him. Fortunately for Geppetto, the fish has also engulfed a ship, and its supplies—fresh water, candles, hardtack, captain’s logbook, ink—are what keep the Swallowed Man going. (Collodi is, of course, the name of the author of the original Pinocchio.) A misfit whose loneliness is equaled only by his drive to make art, Geppetto scours his surroundings for supplies, crafting sculptures out of pieces of the ship’s wood, softened hardtack, mussel shells, and his own hair, half hoping and half fearing to create a companion once again that will come to life. He befriends a crab that lives all too briefly in his beard, then mourns when “she” dies. Alone in the dark, he broods over his past, reflecting on his strained relationship with his father and his harsh treatment of his own “son”—Pinocchio, the wooden puppet that somehow came to life. In true Carey fashion, the author illustrates the novel with his own images of his protagonist’s art: sketches of Pinocchio, of woodworking tools, of the women Geppetto loved; photos of driftwood, of tintypes, of a sculpted self-portrait with seaweed hair. For all its humor, the novel is dark and claustrophobic, and its true subject is the responsibilities of creators. Remembering the first time he heard of the sea monster that was to swallow him, Geppetto wonders if the monster is somehow connected to Pinocchio: “The unnatural child had so thrown the world off-balance that it must be righted at any cost, and perhaps the only thing with the power to right it was a gigantic sea monster, born—I began to suppose this—just after I cracked the world by making a wooden person.” Later, contemplating his self-portrait bust, Geppetto asks, “Monster of the deep. Am I, then, the monster? Do I nightmare myself?”
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.Pub Date: Jan. 26, 2021
ISBN: 978-0-593-18887-3
Page Count: 208
Publisher: Riverhead
Review Posted Online: Sept. 29, 2020
Kirkus Reviews Issue: Oct. 15, 2020
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