A flawed but often enjoyable magical-realist novel of Brooklyn.
Martin’s debut novel matches a tale of magic, death, and childhood in 1957 Coney Island with 40 color illustrations.
Young Sarah’s turbulent Jewish family in Brooklyn’s Coney Island is intimately involved with the neighborhood’s various institutions. Her mother was once Miss Coney Island, her father maintains amusement park rides, and her ex-gangster uncle owns an unsavory boardwalk saloon. Sarah becomes convinced that suave Lenny, a performer at the saloon, and mysterious “Mississippi,” a drifter blues musician, are putting hidden “warnings” in their songs. Already reeling from the death of her grandmother, Sarah (who soon renames herself “Brooklyn”) tries to wheedle an explanation from the musicians. She eventually learns that the approaching threat may be Molech ha-Movess, the Angel of Death. Meanwhile, she also tries to get to know her family’s oddball tenant (an elderly hoarder) and help her cousin evade her unhinged “Evil Aunt Suzie.” The novel extensively references both Jewish folklore and blues music. Martin, a Coney Island native herself, evocatively describes a childhood spent freely roaming boardwalks, seedy clubs, and amusement parks. One of the book’s strongest elements is its depiction of Sarah’s family members. Although it portrays questionable or even abusive parenting, it also hints that the imperfect adults in Sarah’s life face multiple pressures; for example, her father barely sees his family during the busy season, and her mother suffers from depression and anorexia. (These pressures may even be supernatural—“Evil” Aunt Suzie, for instance, may be possessed by a dybbuk, a lost and angry soul.) The meandering plot structure generally serves the subject matter well, allowing Sarah to investigate different corners of her world. However, the novel struggles to maintain a sense of forward motion, as the central Angel-of-Death plotline gets lost among numerous others. The character of Mississippi could also have been developed further, as he struggles to transcend the wise, friendly, African-American blues musician stereotype. The book’s illustrations, though, are wonderfully colorful, evocative, and slightly creepy, and they go well with Martin’s playful, gothic text.
A flawed but often enjoyable magical-realist novel of Brooklyn.Pub Date: N/A
ISBN: N/A
Page Count: -
Publisher: Narrioch Books
Review Posted Online: Nov. 14, 2016
Review Program: Kirkus Indie
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
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
BOOK REVIEW
BOOK REVIEW
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