An accomplished, macabre horror saga and a promising debut from an imaginative new author.

A COSMOLOGY OF MONSTERS

A Texas family that runs a haunted house is haunted by monsters for decades.

This ambitious, grotesque debut novel is a love letter to H.P. Lovecraft’s Cthulhu Mythos, so it may not be the easiest horror novel to parse or explain. That said, this is a very scary coming-of-age tale that lives in the same space as Stranger Things, Stand By Me, and Stephen King’s It (1986). The story is told by Noah Turner, who matter-of-factly recounts the dark and terrible fortunes of his family. He opens with the sweet romance between his parents, Harry and Margaret, who marry and start a comic book store and a haunted house called The Wandering Dark in the small town of Vandergriff, Texas. But terrible things keep happening, including Harry’s untimely death, Margaret’s bottomless grief, the sudden disappearance of Noah’s oldest sister, Sydney, and his sister Eunice’s crippling mental illness, not to mention the increasingly frequent disappearances of children from Vandergriff. These events would be frightening by themselves, but Hamill adds another layer by introducing a huge supernatural creature that turns up on Noah’s doorstep one night and declares it's his friend while giving him a few magical powers to boot. But things like giant monsters always turn out to be something...else, and in Noah’s adolescence, this one does, too. The way Hamill weaves his way between the phantasmagorical elements and Noah’s everyday dramas is nimble in a way reminiscent of King, who practically invented this narrative style. Creepy interstitial entries dubbed “The Turner Sequences” flesh out the fates of Noah’s family. Eventually, an older Noah meets a group of people calling themselves The Fellowship who can also see these monsters, and Noah’s instinct is to run as far away as possible. But darkness unleashed can never really be escaped, and readers are bound to find themselves shuddering at the novel's lurid denouement.

An accomplished, macabre horror saga and a promising debut from an imaginative new author.

Pub Date: Sept. 16, 2019

ISBN: 978-1-5247-4767-1

Page Count: 336

Publisher: Pantheon

Review Posted Online: July 1, 2019

Kirkus Reviews Issue: July 15, 2019

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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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Fierce, poetic, uncompromising.

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THE CITY WE BECAME

This extremely urban fantasy, a love/hate song to and rallying cry for the author’s home of New York, expands her story “The City, Born Great” (from How Long ’Til Black Future Month, 2018).

When a great city reaches the point when it's ready to come to life, it chooses a human avatar, who guides the city through its birthing and contends with an extradimensional Enemy who seeks to strike at this vulnerable moment. Now, it is New York City’s time to be born, but its avatar is too weakened by the battle to complete the process. So each of the individual boroughs instantiates its own avatar to continue the fight. Manhattan is a multiracial grad student new to the city with a secret violent past that he can no longer quite remember; Brooklyn is an African American rap star–turned–lawyer and city councilwoman; Queens is an Indian math whiz here on a visa; the Bronx is a tough Lenape woman who runs a nonprofit art center; and Staten Island is a frightened and insular Irish American woman who wants nothing to do with the other four. Can these boroughs successfully awaken and heal their primary avatar and repel the invading white tentacles of the Enemy? The novel is a bold calling out of the racial tensions dividing not only New York City, but the U.S. as a whole; it underscores that people of color are an integral part of the city’s tapestry even if some White people prefer to treat them as interlopers. It's no accident that the only White avatar is the racist woman representing Staten Island, nor that the Enemy appears as a Woman in White who employs the forces of racism and gentrification in her invasion; her true self is openly inspired by the tropes of the xenophobic author H.P. Lovecraft. Although the story is a fantasy, many aspects of the plot draw on contemporary incidents. In the real world, White people don’t need a nudge from an eldritch abomination to call down a violent police reaction on people of color innocently conducting their daily lives, and just as in the book, third parties are fraudulently transferring property deeds from African American homeowners in Brooklyn, and gentrification forces out the people who made the neighborhood attractive in the first place. In the face of these behaviors, whataboutism, #BothSides, and #NotAllWhitePeople are feeble arguments.

Fierce, poetic, uncompromising.

Pub Date: March 24, 2020

ISBN: 978-0-316-50984-8

Page Count: 448

Publisher: Orbit

Review Posted Online: Nov. 25, 2019

Kirkus Reviews Issue: Dec. 15, 2019

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