Nothing sweet on Sugar Street: It’s creeps all the way down. An unsettling, propulsive, sometimes acidly funny book.
A mystery man on the run alights in a grim and unwelcoming new world.
“$168,048. That's a lot, though it doesn't really matter how much it is once you've accepted that there will never be any more of it, only less.” Exactly how much cash he has left in the manila envelope under his car seat, later under his mattress, is one of the only things we ever know for sure about the unnamed White male narrator of Dee's eighth novel, and it's an element of the furious tension that drives the book to its brutal conclusion. The narrator tosses out a number of provisional backstories—he has a “nifty law degree,” he’s some kind of terrorist, he had a daughter with a terminal illness—which don't seem to necessarily be true, though every once in a while he does make a claim on the reader’s credulity: “I think it’s important to note that I didn’t ruin anybody. I just want that on the record, even though, of course, there must be no record.” Having cut every connection to his past life, he goes to ground in an unnamed decaying city, renting a room from an unfriendly tattooed woman named Autumn. She tells him there's a middle school nearby—because, she explains, he looks like a sex offender, so maybe he should rent somewhere else. His relationship with her becomes the center of his weird new life, but it, and every other interaction he has with the people he meets, seethes with mistrust and violence. He is acutely aware of the diseases plaguing his country, and his narration bristles with minimanifestoes. “Democracy, capitalism, liberalism: all in the lurid end-stages of their own failure, yet we won’t even try to imagine anything different, any other principle around which life might be organized: we would sooner choke each other to death, which is basically what we’re doing.” “If white people had a tombstone, it would read, ‘They Stopped at Nothing.’ ” This pronouncement will be borne out by his own story.
Nothing sweet on Sugar Street: It’s creeps all the way down. An unsettling, propulsive, sometimes acidly funny book.Pub Date: Sept. 13, 2022
ISBN: 978-0-8021-6000-3
Page Count: 224
Publisher: Grove
Review Posted Online: Oct. 3, 2022
Kirkus Reviews Issue: July 1, 2022
A beautiful meditation on queer identity against a supernatural backdrop.
Three women deal very differently with vampirism in Schwab’s era-spanning follow-up to The Invisible Life of Addie LaRue (2020).
In 16th-century Spain, Maria seduces a wealthy viscount in an attempt to seize whatever control she can over her own life. It turns out that being a wife—even a wealthy one—is just another cage, but then a mysterious widow offers Maria a surprising escape route. In the 19th century, Charlotte is sent from her home in the English countryside to live with an aunt in London when she’s found trying to kiss her best friend. She’s despondent at the idea of marrying a man, but another mysterious widow—who has a secret connection to Maria’s widow from centuries earlier—appears and teaches Charlotte that she can be free to love whomever she chooses, if she’s brave enough. In 2019, Alice’s memories of growing up in Scotland with her mercurial older sister, Catty, pull her mind away from her first days at Harvard University. And though she doesn’t meet any mysterious widows, Alice wakes up alone after a one-night stand unable to tolerate sunlight, sporting two new fangs, and desperate to drink blood. Horrified at her transformation, she searches Boston for her hookup, who was the last person she remembers seeing before she woke up as a vampire. Schwab delicately intertwines the three storylines, which are compelling individually even before the reader knows how they will connect. Maria, Charlotte, and Alice are queer women searching for love, recognition, and wholeness, growing fangs and defying mortality in a world that would deny them their very existence. Alice’s flashbacks to Catty are particularly moving, and subtly play off themes of grief and loneliness laid out in the historical timelines.
A beautiful meditation on queer identity against a supernatural backdrop.Pub Date: June 10, 2025
ISBN: 9781250320520
Page Count: 544
Publisher: Tor
Review Posted Online: March 22, 2025
Kirkus Reviews Issue: April 15, 2025
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
PERSPECTIVES
PERSPECTIVES
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
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