A well-written, descriptive, and dark creation story.

THE FALL OF LILITH

Fallen angels battle for survival in Quiroz-Vega’s (The Basement, 2013) fantasy novel.

In the beginning, God created angels. His companions reside in Floraison, a beautiful and joyful location in the lowest level of heaven. Though given free will, they must be obedient and remain chaste. For the angel Lilith, this is a difficult proposition. Though she longs to be first in God’s eyes, Lilith questions the rules. Her slyness and disobedience cause turmoil and division among the angels. When God sorts the angels in a hierarchy, Lilith is unhappy. When God creates humans, Lilith is enraged and jealous. She sows the seeds of an uprising, eventually seducing Lucifer and encouraging him to revolt against God. A vicious battle ends in defeat for Lilith, Lucifer, and their allies. They are cast out of Floraison and banished to Earth, changed in form and ability. Some are given monsterlike characteristics, including Lilith, who is now half serpent. Lucifer becomes Satan, complete with red visage and spiky horns. The fallen angels struggle to find each other and battle to survive on the alien planet. They are vulnerable and able to be wounded by elements in their ecosystem. Though the angels can now enjoy pleasures of the flesh, it’s often violent and painful, especially for Lilith. Rather than experience heaven on Earth, the fallen angels lie, deceive, and suffer. Lilith craves revenge upon God, the angels, humans, and ultimately Satan himself. Quiroz-Vega offers a dark creation tale, a prologue of sorts to Adam and Eve. It’s a compelling narrative that provides background on several well-known, supernatural figures. Though obviously religious in nature, Quiroz-Vega’s book strays far from traditional biblical text. Sea monsters, mermaids, and vampires share the stage with angels and demons. And illicit (and explicit) affairs, violent battles, and graphic injuries abound. Quiroz-Vega’s prose is incredibly descriptive. The fallen angels, including a transformed Beelzebub, whose “arms and legs appeared gelatinous, punctuated by lumps of broken and calcified bone,” are painted with horrifying clarity.

A well-written, descriptive, and dark creation story.

Pub Date: Aug. 1, 2017

ISBN: N/A

Page Count: 527

Publisher: Dog Ear Publisher

Review Posted Online: July 17, 2017

Kirkus Reviews Issue: Aug. 15, 2017

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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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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

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. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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