An expansive, edgy genre piece whose earnest familial theme shines.
In this prequel installment of Markoff’s (The Deadbringer, 2016) fantasy series, a mercenary protects his young nephew, a member of a despised, largely decimated people, from operatives who wish to kill him.
Eutau Vidal made a promise to his sister that he would look after her son, Kira, before she died in labor. Taking care of Kira entails typical child-rearing duties, such as ensuring that he’s well-fed and warm, but also involves concealing Kira’s gray skin—the sign that he’s part of a race called Deadbringers. Kira’s skin rots everything it touches, save for Eutau. In the land of Moenda, the Ascendancy united all the myriad races under one power, while also initiating the Purging against Deadbringers, who, among other things, can bring the dead back to life. Although the South is predominantly free of Deadbringers, Sanctifiers continue to search for any that remain in hiding. Eutau keeps Kira close and helps him overcome his fear of spirits that only he can see and hear. The two encounter an amiable soul, J’kara, and later join her in her home city of Florinia, where a lack of Deadbringers has begotten far-less-cautious Ascendancy members. But Eutau soon craves the freedom he once had in his mercenary days. Markoff’s novella, which takes place 15 years prior to the events of her previous book, is a laudable series forerunner, but also works well as a stand-alone work. It’s impressive how much information is packed into the short tale, including background on the Purging and the traits of various peoples, such as the horns and talons of the Ro’Erden, and Eutau’s pupil-less eyes. Nevertheless, the uncle-nephew bond is the story’s strongest quality; ever protective Eutau is perfectly suited to the father figure role, even if he occasionally regrets his pledge to his sister. Kira, meanwhile, tackles mundane obstacles (such as when his peers call his skin ugly) as well as supernatural ones, all in endearing, phonetic speech: “I pwomise, I’ll be good,” he assures Eutau.
An expansive, edgy genre piece whose earnest familial theme shines.Pub Date: April 10, 2017
ISBN: 978-0-9971951-3-2
Page Count: 198
Publisher: Tomes & Coffee Press
Review Posted Online: July 28, 2017
Review Program: Kirkus Indie
BOOK REVIEW
The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...
Talk-show queen takes tumble as millions jeer.
Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.
The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.Pub Date: March 1, 2001
ISBN: 0-609-60737-5
Page Count: 336
Publisher: Crown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2001
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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