While the Gothicism works well, at times Harwood’s convolutions become as mystifying to the reader as to the characters he...
Creepy doings—certificates of insanity, switched identities, morbid personalities—in and around an asylum in 19th-century England.
While it’s not exactly clear why the Victorian period is so amenable to such sinister and disturbing phenomena, Harwood certainly makes the atmosphere work here. In 1882, a young woman wakes up at Tregannon House, a former mansion in Cornwall, now turned into an insane asylum run by Dr. Straker and his gruesomely unwholesome assistant, Frederic Mordaunt. Although the day before she had introduced herself as Lucy Ashton, later that night she is found unconscious, and when she emerges from a nightmare the following morning, she’s convinced her name is Georgina Ferrars and that she lives with her uncle in London. When Dr. Straker goes to London to sort out the confusion with Ferrars’ (or is it Ashton's?) identity, he comes back to Tregannon House with the disturbing report that she must be an imposter, for he met the “real” Georgina Ferrars at her uncle’s. Disturbingly, the more the Georgina in the asylum tries to assert her identity, the more the authority figures are persuaded she’s delusional, so she’s committed to the involuntary wing of the asylum, where she’s convinced the only way for her to reclaim her identity is to escape. Also upsetting is that she begins to have flashbacks to childhood memories in which she had an imaginary friend/alter ego named Rosina. We’re then taken back to a series of letters from Rosina Wentworth to Emily Ferrars about 20 years previously—and eventually to a journal written by Georgina Ferrars. Rosina breathlessly reports to her cousin all the latest gossip, dwelling especially on her own romantic entanglements with Felix Mordaunt, owner of a mansion in Cornwall. Once again, identities shift.
While the Gothicism works well, at times Harwood’s convolutions become as mystifying to the reader as to the characters he depicts.Pub Date: May 21, 2013
ISBN: 978-0-544-00347-7
Page Count: 224
Publisher: Houghton Mifflin Harcourt
Review Posted Online: Feb. 17, 2013
Kirkus Reviews Issue: March 1, 2013
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
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. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
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. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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