Yawn.
This is what happens when you move into a place nicknamed the “Murder House.”
The Walkers, artist Sarah and structural engineer Patrick, have a 15-year-old daughter, Mia, and a 17-year-old son, Joe, and they’re happy. Well, they were. Sarah’s mother died six months ago, and it just about broke her, resulting in a hospital stay for her and a car accident for Joe that might have been in response to her breakdown. When Sarah takes one too many sleeping pills one night, her family is convinced she’s attempted suicide, and no one believes her when she insists that she didn’t. Looking for a fresh start, Patrick says they can get his childhood home at a steal, but Sarah isn’t convinced. Patrick is obsessed with the house, a once-beautiful Victorian on the Welsh coast that’s been vacant for 15 years after a man named Ian Hooper brutally murdered nearly an entire family there. Patrick tells Sarah that the sea air is just what they need but that she’ll have to use the entirety of her paltry inheritance to help pay for it. Of course, Sarah acquiesces, and chaos inevitably ensues. The house is a dump, and they don’t have the funds to fix it up. Patrick is spiraling, and so are the kids. As Sarah gets to know a few of the townspeople, including a sexy gallery owner, she learns that the story of the Murder House is more sinister, and close to home, than she could have imagined. From the get-go, Patrick is squirrelly, insulting, whiny, and, eventually, downright abusive, making it hard to imagine why poor Sarah married the guy in the first place. He makes her take debilitating meds for her so-called suicide attempt, burns her sketchbooks, and, during one memorable dinner with his co-workers, forces her to eat calamari, which she’s allergic to, then claims to have forgotten about her allergy. There are some creepy elements, like phantom wind chimes, cold spots, and a lurker watching the house. Then there’s that cellar, which is assigned special significance early on. The bones of a good story are here, but, in such a crowded field, Savage's derivative debut doesn’t innovate on the usual domestic suspense tropes (there’s even the requisite asides by the presumed villain).
Yawn.Pub Date: March 12, 2019
ISBN: 978-1-5387-1429-4
Page Count: 352
Publisher: Grand Central Publishing
Review Posted Online: Dec. 22, 2018
Kirkus Reviews Issue: Jan. 15, 2019
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
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
