Tikkun literary editor Rosenbaum’s debut novel is again, like his earlier collection of stories (Elijah Visible, 1996), an autobiographically influenced account of the burdens shouldered by children of Holocaust survivors. While the family-background elements are persuasive, the plot itself tends more often to be forcedly unrealistic. Raised in Miami in the ’50s and ’60’s, Duncan Katz is trained for strength and vengeance by his refugee parents, the benign “Yankee” and towering Mila, both survivors of Poland’s death camps. Well evoked are the family’s habits of secrecy, suspicion, and paranoia; Mila’s compensating appetite for ruthless gambling; and the early phases of Duncan’s life. The boy excels at martial arts and aggressive sports, and later he becomes a lawyer in order to pursue Nazi war criminals hiding in the US. Eventually, his attempt to extract a confession illegally from a suspect costs him his job; then his mother dies; and his wife Sharon—no more than an emotional bauble here—insists that he leave her and their daughter Milan. His mother’s final days in the hospital, and her confession that she abandoned a son in Poland before fleeing, contain touching moments, while Duncan’s own search for his brother Isaac, and his exploits in Poland, are thick on action but thin on credulity. Isaac, a spiritual leader in his own community, teaches Duncan the techniques of yoga to contain his rage, and the pair spend a harrowing night (or is it a dream?) in a Birkenau camp cell dressed in striped uniforms adorned with gold stars. Ultimately, realizing that his mother never nourished him emotionally, Duncan is able to make peace with his past. Rosenbaum portrays well Miami’s Jewish refugee population and the psychological box that traps Duncan early on. It’s difficult, though, to credit a reconciliation that involves proper breathing techniques, the alignment of chakras, and a great, dewy-eyed group hug around the gravesite of a departed matriarch.
Pub Date: April 12, 1999
ISBN: 0-312-19954-6
Page Count: 320
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1999
BOOK REVIEW
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
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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