Readers with a taste for the unusual (and who don't mind some nauseating passages) will find this a palatable novel about...

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THE HUNGER AND THE HOWLING OF KILLIAN LONE

A dark concoction about an ambitious culinary apprentice in 1980s London, Storr’s debut features a complex title character, gothic undertones and an unnerving plot.

Killian Lone begins his journey as a sympathetic young man, a target for neighborhood bullies into adulthood and the product of a dysfunctional family. His only source of solace is his great-aunt Dorothy, who spends hours teaching him to cook when he visits her at Dor Cottage, the old family home. Killian is descended from a long line of talented chefs, including the original owner of the cottage, Mary Dor, who cooked for the first Earl of Sussex and was burned at the stake as a witch. When he's accepted at culinary school, Killian’s skills prove exceptional, and his instructor secures him an apprenticeship at the chic restaurant run by Killian’s idol, acclaimed chef Max Mann. Killian’s dreams of being taken under the chef's wing unravel as he discovers the gulf between Mann’s public persona and his private actions. Though Killian tells himself Mann is under tremendous pressure to earn a third Michelin star, the horrendous kitchen conditions begin to splinter his “turnspit dog” loyalty. Killian's work is undermined by Mann's assistant, and he's subject to a blind "taste test" that involves crackers spread with excrement. As he strives for success, his future becomes increasingly tied to a secret he uncovers at Dor Cottage following Dorothy’s death; using it transforms his career, spurs speculation about his ethics and culinary abilities, affects his relationship with the woman he loves and consumes his life. An award-winning journalist, Storr has created a disturbing tale about cutthroat rivalries in a high-profile industry, and his claim that many of the kitchen incidents are based on true stories makes it even juicier.

Readers with a taste for the unusual (and who don't mind some nauseating passages) will find this a palatable novel about ambition, human fallibility and revenge.

Pub Date: March 11, 2014

ISBN: 978-1-4767-3043-1

Page Count: 368

Publisher: Marble Arch/Simon & Schuster

Review Posted Online: Feb. 19, 2014

Kirkus Reviews Issue: March 1, 2014

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A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

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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