Freakin’ terrifying.
Alison barely survived a traumatic childhood with her wildly unpredictable, alcoholic mother, Mavis. So it is with no small amount of trepidation that she agrees to bring her mother home to die of cancer.
Mavis’ longtime assistant, Paul, seems agitated when they arrive at Alison’s Vermont farmhouse, but once he leaves, the two women seem to settle into an uneasy truce, and Mavis is sweet and engaging with Alison’s two daughters, especially 6-year-old Olivia. Sixteen-year-old Izzy finds her “creepy,” but soon, she, too, is joining Mavis for tea and interviewing her for a film project. Haunted by childhood memories and disturbed by the rock her mother keeps by her at all times and seems to value above all else, Alison feels like she’s the only one suspicious about her mother’s motives in coming to Vermont, but she can’t deny that the rest of the family has been charmed. Olivia, however, begins to have nightmares, and Mavis taunts Alison with some of her childhood secrets that no one could know. Then Paul—who’s come to visit—runs out of the house after a brief exchange with his employer, telling Alison, “That’s not Mavis.” What follows is chilling, and terrifying, and heartbreakingly terrific horror writing. Alison must unravel her mother’s secrets and begins to realize that her mother’s abuse, perhaps, was in part driven by a desire to protect her. While there is a clear and logical explanation for all the mystery, it’s not one that any other person in Alison’s life can understand or accept, so she finds herself alone, losing the trust of her loved ones as she fights like hell to protect her daughters. While it’s common in horror for secondary characters to cling to a more “realistic” explanation, like mental illness due to trauma, in lieu of accepting evidence of the supernatural, it’s somewhat discouraging to see this trope here. Alison’s strength deserves a better, kick-ass outcome—even if the ending proves how inevitably evil may triumph. Just once: Listen and believe the woman!
Freakin’ terrifying.Pub Date: Oct. 3, 2023
ISBN: 9781668019061
Page Count: 320
Publisher: Scout Press/Simon & Schuster
Review Posted Online: July 26, 2023
Kirkus Reviews Issue: Aug. 15, 2023
As usual, Evanovich handles the funny stuff better (much better) than the mystery stuff.
Stephanie Plum’s 31st adventure shows that Trenton’s preeminent fugitive-apprehension agent still has plenty of tricks up her sleeve, and needs every one of them.
The current caseload for Stephanie and Lula—the ex-prostitute file clerk at her cousin Vincent Plum’s bail bonds company, who serves as her unflappable sidekick—begins with two “failures to appear.” Eugene Fleck is suspected of being Robin Hoodie, who robs from the rich and, yes, distributes the proceeds to the poor. Racketeer Bruno Jug, who’s missed his court date on charges of tax evasion, is also suspected of drugging and raping a 14-year-old. But neither of these fugitives can hold a candle to Zoran Djordjevic, aka Fang, a self-proclaimed vampire wanted in connection with the gruesome fate of his late wife and three other missing women. As usual, Stephanie’s personal life is just as helter-skelter as her professional life as a bounty hunter. She’s managed to get herself engaged both to Det. Joe Morelli, of the Trenton PD, and Ranger, a former Special Forces agent who runs a private security firm; she thinks she may be pregnant; and she’s willing to marry the father, whichever of her fiances that turns out to be. On top of it all, her nothingburger schoolmate Herbert Slovinski suddenly pops up at one of the funerals she ferries her Grandma Mazur to, hitting on her relentlessly and gilding his importunities by cleaning and painting her shabby apartment and laying new carpet. Luckily, Lula’s on hand to offer cupcakes that stave off the worst disasters, and whenever this hodgepodge threatens to slow down, another FTA appears, or fails to appear.
As usual, Evanovich handles the funny stuff better (much better) than the mystery stuff.Pub Date: Nov. 5, 2024
ISBN: 9781668003138
Page Count: 320
Publisher: Atria
Review Posted Online: Oct. 26, 2024
Kirkus Reviews Issue: Dec. 1, 2024
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
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