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ZIZZLE LITERARY

ISSUE 3

Well-wrought, unusual, and memorable fiction beautifully illustrated—a keepsake.

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Third in a series, this illustrated collection of flash fiction, edited by Dahl (Zizzle Literary: Issue 2, 2019, etc.), for middle schoolers and up focuses on fantasy and magic.

Zizzle Literary publishes concise, imaginative pieces that both parents and kids can enjoy and discuss. Each of the 10 stories is tagged with its reading level, from “Easy” to “Not Easy.” Magic is the theme of this third issue, whether “outright fantasy” or a more subtle variety, according to the Foreword. The opener, “A Reluctant Fairy Tale,” by Karen Heuler, riffs on elements from childhood classics like “Little Red Riding Hood.” Instead of being helpful and complaisant, the heroine refuses to help an old lady—with at first “delicious” and then more disturbing consequences. In other stories, magic can be delicate and poignant, as in “The Shelter of Abandoned Dreams” by Kimberly Huebner. An old woman works at a shelter that reunites people with their lost dreams. By the story’s end, she’s able to nurture her own adrift dream. Other stories tap into the anarchic energy of childhood, such as “Dead Mudge” by Melissa Ostrom; a teacher’s death in the classroom liberates the children’s vitality and creativity. Magic can shade into the sinister, as in “Uncle Frank” by Wendy Nikel. The title character insinuates himself into a family, but the child narrator knows she’s never had an Uncle Frank. In “Serbian Dracula Mysteries” by Kate Felix, magic takes a turn for the funny and sweet. The story’s puckish narrator, Arsen, is sent to school counseling for his pranks. Amateur detection is meant to be a good outlet for him, but investigating the daytime doings of his attic-dwelling uncle reveals nothing ominous. Instead, his uncle smiles at him “with more admiration than I have ever enjoyed from anyone else in my growly, vampiric family.” The book also includes photos, usually of the authors when they were children, and in a final section, contributors talk about their favorite books from childhood. The stories—strong and graceful—raise issues that children and parents could profitably discuss together. “A Reluctant Fairy Tale,” for example, might prompt questions about why it feels good to be bad, what the consequences are of defying such cultural norms as helping old ladies, or why the narrative seems to both admire Eugenia’s defiance and punish her for it. Genre expectations could be another topic. “Serbian Dracula Mysteries,” for example, takes its horror influences in an unexpected direction, with Arsen reinvigorated, not drained, by his encounter with the unknown. Depending on reader taste, some stories could also invite more critical analysis. For example, is Eugenia perhaps too obviously a stand-in for an adult sensibility with dialogue like, “your false tests, your arbitrary trials”? Adding to the issue’s charm are debut illustrator Moriyama’s lovely, otherworldly rabbit-themed paintings resembling Japanese woodblock prints.

Well-wrought, unusual, and memorable fiction beautifully illustrated—a keepsake.

Pub Date: N/A

ISBN: N/A

Page Count: 126

Publisher: Promiseshore

Review Posted Online: Aug. 29, 2019

Kirkus Reviews Issue: Oct. 1, 2019

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DEVOLUTION

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

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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

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THE SILENT PATIENT

Amateurish, with a twist savvy readers will see coming from a mile away.

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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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