A strange, arcane journey into South American horror with roots in the real evil that men do.
A widower burdened with paranormal abilities tries to protect his son from a dangerous cult.
After two well-received story collections, most recently The Dangers of Smoking in Bed (2021), Enríquez presents a sprawling gothic novel holding a black mirror toward Argentina’s history of corruption and political violence and dosed with the conventions of horror fiction. Roughly told from the point of view of a father, a mother, and their son at different stages of their lives, the story can feel aimless, but the sheer dread and paranoia the author delivers are palpable, too. When we first meet Juan Peterson and his son, Gaspar, they’re trying to stay under the radar of the Cult of the Shadow. This dangerous, child-murdering religious order is led by the family of Juan’s wife, Rosario, who recently died in a car accident. Rosario’s creepy family discovered early on that Juan is a medium who can control “the Darkness,” a preternatural force that hungers for human flesh, during occult rites. Juan has always grudgingly gone along with his in-laws' wishes, participating in these ceremonies despite the terrible physical toll they take on him. But now, the cult wants to (somehow?) move his consciousness into his son's body before the Darkness takes him completely, and he's furtively trying to undermine them. He has secret allies in his sister-in-law, Tali, and Stephen, the son of the order’s leader, who are helping to mask Gaspar’s innate abilities. Later, a flashback to Rosario’s work as an anthropologist demonstrates how mythology comes into play, while later, a grown-up Gaspar struggles with his dark inheritance. It’s awkward and exhausting by turns, often by design. Somehow the shock of such violence delivered upon children and the inevitable fatigue generated by unrelenting horror also mirror the author’s mistrust of reality as we know it.
A strange, arcane journey into South American horror with roots in the real evil that men do.Pub Date: Feb. 7, 2023
ISBN: 978-0-4514-9514-3
Page Count: 608
Publisher: Hogarth
Review Posted Online: Nov. 28, 2022
Kirkus Reviews Issue: Dec. 15, 2022
BOOK REVIEW
BOOK REVIEW
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.
A young woman’s experience as a nurse in Vietnam casts a deep shadow over her life.
When we learn that the farewell party in the opening scene is for Frances “Frankie” McGrath’s older brother—“a golden boy, a wild child who could make the hardest heart soften”—who is leaving to serve in Vietnam in 1966, we feel pretty certain that poor Finley McGrath is marked for death. Still, it’s a surprise when the fateful doorbell rings less than 20 pages later. His death inspires his sister to enlist as an Army nurse, and this turn of events is just the beginning of a roller coaster of a plot that’s impressive and engrossing if at times a bit formulaic. Hannah renders the experiences of the young women who served in Vietnam in all-encompassing detail. The first half of the book, set in gore-drenched hospital wards, mildewed dorm rooms, and boozy officers’ clubs, is an exciting read, tracking the transformation of virginal, uptight Frankie into a crack surgical nurse and woman of the world. Her tensely platonic romance with a married surgeon ends when his broken, unbreathing body is airlifted out by helicopter; she throws her pent-up passion into a wild affair with a soldier who happens to be her dead brother’s best friend. In the second part of the book, after the war, Frankie seems to experience every possible bad break. A drawback of the story is that none of the secondary characters in her life are fully three-dimensional: Her dismissive, chauvinistic father and tight-lipped, pill-popping mother, her fellow nurses, and her various love interests are more plot devices than people. You’ll wish you could have gone to Vegas and placed a bet on the ending—while it’s against all the odds, you’ll see it coming from a mile away.
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.Pub Date: Feb. 6, 2024
ISBN: 9781250178633
Page Count: 480
Publisher: St. Martin's
Review Posted Online: Nov. 4, 2023
Kirkus Reviews Issue: Dec. 1, 2023
PERSPECTIVES
BOOK TO SCREEN
SEEN & HEARD
Through palpable tension balanced with glimmers of hope, Hoover beautifully captures the heartbreak and joy of starting over.
The sequel to It Ends With Us (2016) shows the aftermath of domestic violence through the eyes of a single mother.
Lily Bloom is still running a flower shop; her abusive ex-husband, Ryle Kincaid, is still a surgeon. But now they’re co-parenting a daughter, Emerson, who's almost a year old. Lily won’t send Emerson to her father’s house overnight until she’s old enough to talk—“So she can tell me if something happens”—but she doesn’t want to fight for full custody lest it become an expensive legal drama or, worse, a physical fight. When Lily runs into Atlas Corrigan, a childhood friend who also came from an abusive family, she hopes their friendship can blossom into love. (For new readers, their history unfolds in heartfelt diary entries that Lily addresses to Finding Nemo star Ellen DeGeneres as she considers how Atlas was a calming presence during her turbulent childhood.) Atlas, who is single and running a restaurant, feels the same way. But even though she’s divorced, Lily isn’t exactly free. Behind Ryle’s veneer of civility are his jealousy and resentment. Lily has to plan her dates carefully to avoid a confrontation. Meanwhile, Atlas’ mother returns with shocking news. In between, Lily and Atlas steal away for romantic moments that are even sweeter for their authenticity as Lily struggles with child care, breastfeeding, and running a business while trying to find time for herself.
Through palpable tension balanced with glimmers of hope, Hoover beautifully captures the heartbreak and joy of starting over.Pub Date: Oct. 18, 2022
ISBN: 978-1-668-00122-6
Page Count: 352
Publisher: Atria
Review Posted Online: July 26, 2022
Kirkus Reviews Issue: Aug. 15, 2022
SEEN & HEARD
SEEN & HEARD
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