EVERYTHING WAS BEAUTIFUL AND NOTHING HURT, how I would know I was dead is just that

EVERYTHING WAS BEAUTIFUL AND NOTHING HURT
BEN REEVES
Avid Reader Press (non-affiliate Bookshop.org link)
$14.99 ebook, available now

Rating: 4.5* of five

The Publisher Says: Travis is Death in the modern world. He wears jeans and a T-shirt and lives in a small, grey town. His job is to offer people comfort in their final hours of life. He’s stoic, gentle, and a little naive, despite everything he knows. He’s young and handsome, despite who he is. Each death he witnesses is meaningful to him; he listens, never judges, and most importantly, never tries to change anyone’s fate. He knows that every life must eventually end to maintain the balance of the universe and he respects the cycle.

Then he meets Dalia, a midwife, and her boisterous eight-year-old daughter Layla, who live across the hall. As Dalia and Layla come to embrace Travis, it becomes more difficult to maintain the detachment that’s allowed him to function for so long. Their time together teaches him what’s truly important in life—and what might be irrevocably lost in death.

Written with radiant warmth, wisdom, and compassion, Everything Was Beautiful and Nothing Hurt is a timeless story about appreciating life, accepting its end, and finding our place in the universe—especially when it feels most impossible—that will resonate with anyone who has ever loved and lost or worried at time’s passing.

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My Review: Remember Meet Joe Black? Or, if you're a reader my age, Salley Vickers' novel Mr. Golightly's Holiday? We're all interested in divine personifications of absolute power...god and death being in Western cosmology the two supreme beings...and we need to tell stories as much as we need to breathe, so it's inevitable that there will always be new and interesting ways to personify them. (And funny ones, if you're irreverent like Sir Terry Pratchett. Author Ben Reeves is staking out a bit of that territory in this story.

Travis is an ordinary guy who also happens to be Death. Literal Death. The Grim Reaper wears jeans and t-shirts. Sure, why not. Travis comforts and guides people into death, so you already know it's not going to be a Pratchetty jollification of a story. Seeing the personification of death as more or less a death doula is, on its face, reductive because Death is permanent, absolute, fundamental, and utterly unknowable like Life is. Reducing a terrifying cosmic power to a guy in jeans and a t-shirt who helps you, guides you with kindness and sympathy, through the emotional landscape of The End, feels like lèse-majesté to me. Like euphemising "he died" into "he has passed away," if feels like emotional dishonesty to me, like a pointless attempt to pre-feel the horrible twisting agony that is grief. (It doesn't work, any more than not saying "Voldemort" did. Any time one uses the passive voice, dishonesty is stinking up the sentence.)
Enough abstraction. The action in this story is heavy, the emotions surrounding death are never otherwise though sadness is not necessarily always foregrounded. Author Reeves chose, rightly in my view, to give Travis a first-person narrative voice in stream of consciousness style. It is how we experience life, so why wouldn't Life's intimate partner use it? It's also effective in conveying the immediacy of Death's role in one's life by distancing our mere mortal PoVs into third-person limited narratives.

I think that won't sit well with some readers, but it very much worked for me. It made the stakes so clear: at the end of life, Death is the main character. He (in this case) looms large, his thoughts and his emotional investment in us are all mortals have in that transition. It was a very interesting take, one I don't recall seeing in a novel before. (A dim, distant tocsin sounds about a short story set during a pogrom in Ukraine—anyone else hear it?)

What made this creative and intelligent Death-centered story so interesting to me was the clear intent to elicit powerful responses in the reader was never shortchanged by pulled punches. I find the central conceit just a bit dimmed down for softening sharp edges; but within that mild criticism of intentional diminishment of robustness, the action isn't kinetic to make the story external. It's a story of the interiority of death, as experienced and related to us by Death.

It's a superior read, told by a talented storyteller, in a creative way that enhances its message of coping with emotion at te end of life.

HONEY IN THE WOUND, Korean magical realist family saga

HONEY IN THE WOUND
JIYOUNG HAN
Avid Reader Press (non-affiliate Bookshop.org link)
$14.99 ebook, available now

Rating: 4.5* of five

The Publisher Says: A lyrical and suspenseful debut novel about a mysteriously gifted Korean family confronting the brutality of the Japanese empire, Honey in the Wound is an epic tale of survival and the reclamation of power.

A sister disappears and returns as a tiger. A mother’s voice compels the truth from any tongue. A granddaughter divines secrets in others’ dreams. These women are all of one lineage—a Korean family split across decades and borders by Japanese imperialism.

At this saga’s heart is Young-Ja, a girl who infuses food with her emotions. She revels in her gift for cooking, nourishing the people she loves with her cheerfulness. But her sunny childhood comes to an end in 1931 when Japanese soldiers crush her family’s defiance against the Empire. Young-Ja is cast adrift, her food turning increasingly bitter with grief. When a Korean rebel fighter notices her talents, however, she is whisked off to Manchuria to join a secretive sisterhood of beautiful teahouse spies. There, Young-Ja finds a new sense of belonging and starts using her abilities for the resistance. But the Imperial Army is not yet finished with her…

Decades later, Young-Ja lives alone in Seoul, withdrawn from the world until her Tokyo-born granddaughter Rinako bursts into her life with the ability to see into dreams. In cultivating a tentative bond, they confront the long-buried past in a stunning emotional climax.

As an unforgettable family perseveres in the long shadow of colonialism, Honey in the Wound transports readers to mountain forests where tiger-girls stalk, to Manchurian teahouses and opium dens where charming smiles veil secrets, and to the modern metropolises of Tokyo and Seoul where restless ghosts stir. This debut novel is a tender yet powerful multi-generational drama that shines light onto the twentieth century’s darkest corners and gives voice to those who bore witness.

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My Review: Brutality is colonialism's sole common legacy across all colonial regimes. Korea's half-century as part of Japan's empire was certainly no exception. Many are the stories of families ravaged by slavery, by economic disadvantages imposed to benefit the colonizers, by the horrors of the comfort women's suffering. It's not unique to Japan's imperial project...go look at Briseis' life after the fall of Troy, and I promise you she was nowhere near the first to suffer this fate...but its systematic, intentional social sanction somehow makes it a vile twentieth-century model of efficiency in evildoing.

So much of modern US culture is Korean inflected. I've reviewed a fair few Korean translations, Korean-themed stories written by members of its diaspora, stories set in Korea, all sorts really, because the culture of the place is ancient, rich, and deeply rooted as it smoothly takes on the modernity of this century as an economic, therefore cultural, powerhouse. As I gain more and more experience with the stories Koreans send into the Anglophone readership, I see one very, very frequent strand appearing: the Japanese occupation, usually framed in apocalyptic, folkloric ways to distance the reader from the brutal reality and to restore some agency, some meaning, to the country's suffering.

No exception this time. Starting in 1902 when Korea was an independent monarchy, the family we come to know and invest caring into is gradually Japanesed in personal names (pay careful attention, context will tell you if someone is being addressed or referred to as a Korean or as a Japanese imperial subject) and place names. It's like the British stealing India and naming "Mumbai" as "Bombay." (There are so many examples from all over the colonized world, that example is just the one I felt Anglophones would relate to most easily.)

The first 40% of the story is the slowest, with the highest concentration of double names. It's a debut novel. The fact is this is exactly reflective of the reality Author Han relates to us as we start our journey in 1902. Put in some effort and it will all begin to feel second nature to you quite quickly. The delight of a writer whose planning makes your reading more fluent with her intentional shifts in register is one who gets my highest regard. Time changes within few pages of each other are all quietly indicated with characters giving us clues, not with bold chapter or section headings that bring your readerly attention to the shifts themselves not the flow of the story.

This might not sound like it will suit you. I recommend reading a sample after publication day on the 7th. It feels more fluid than I'm making it sound. For example, you'll notice as you read through the book that there is a lot of use of, and description using, the color yellow. It would behoove you to go look into musok, the people's religion of Korea, and its use of colors. Like the shifts of names this is an enriching detail that clues the reader in to the larger thematic purpose of a passage, or a name, or an evocative word.

It made this read one I really looked forward to getting into, immersing myself into again and again. And a good thing indeed these moments were there because the horrific cost to the people of the colonial occupation, then the war, demanded much fortitude of me-the-reader to stay invested in people enduring so much. I had reservoirs of interested, sympathetic caring to draw down as horrors mounted up.

I will say I wish there had been a map in the book. I'm not sure where some place names were, whether they were really elsewhere or were Korean places I had read about renamed. Its lack was not fatal to my pleasure; but I felt it nonetheless.

A story I urge on readers and enjoyers of Pachinko and Whale. A story with depths deeper than its modest 320pp page count implies. An author who is a fine discovery in her debut novel.

A FLOWER TRAVELED IN MY BLOOD: The Incredible True Story of the Grandmothers Who Fought to Find a Stolen Generation of Children

A FLOWER TRAVELED IN MY BLOOD: The Incredible True Story of the Grandmothers Who Fought to Find a Stolen Generation of Children
HALEY COHEN GILLILAND
Avid Reader Press (non-affiliate Bookshop.org link)
$14.99 ebook, available now

FINALIST FOR THE 2026 PULITZER PRIZE FOR GENERAL NONFICTION!!

Time's The 100 Must-Read Books of 2025 selection

One of The Washington Post's 10 Best Books of 2025!

One of BookPage's 10 Best Books of 2025!

A New York Times 100 Notable Books of 2025 selection

Rating: 4.5* of five

The Publisher Says: For readers of Say Nothing and The Immortal Life of Henrietta Lacks, the epic, true story of the Abuelas de Plaza de Mayo, grandmothers who fought to find their stolen grandchildren during Argentina’s brutal dictatorship.

In the early hours of March 24th, 1976, the streets of Buenos Aires rumbled with tanks as soldiers seized the presidential palace, overthrowing Argentina’s leader. To many, it seemed like just another coup in a continent troubled by them, amid political violence and Cold War tensions. But there was something darker about this new regime. Quietly supported by the United States and much of Argentina itself, which was sick of constant bombings and gunfights, the junta quickly launched the “National Reorganization Process” or El Proceso—a bland name masking their ruthless campaign to crush the political left and instill the country with “Western, Christian” values. The dictatorship, which continued until 1983, decimated a generation.

One of the military’s most diabolical acts was the disappearance of hundreds of pregnant women. Patricia Roisinblit was among them, a mother and leftist revolutionary labeled “subversive” and abducted while eight months pregnant with her second child. Patricia gave birth in captivity, making one last call to her mother, Rosa, before vanishing. Her newborn son was also taken, one of hundreds given to police, military families, and dictatorship supporters, while their biological parents were secretly executed and their bodies disposed of. For Rosa and the other mothers in her same situation, the loss was unimaginable; their only solace was the hope that their grandchildren were still alive. United by this faith, a group of fierce grandmothers formed the Abuelas de Plaza de Mayo, dedicated to finding the stolen children and seeking justice from a nation that betrayed them.

A Flower Traveled in My Blood is Rosa and the Abuelas’ extraordinary story, told by a journalist with unique access. With authority and compassion, Haley Cohen Gilliland brings this tale to life, tracing the lives of Patricia, Rosa, and her stolen grandson, Guillermo. As the Abuelas transform into detectives, they confront military officers, sift through government documents, assume aliases to see suspected grandchildren, and even pioneer a groundbreaking genetics test with an American scientist.

A compelling mystery and deeply researched account of a pivotal era in world history, A Flower Traveled in My Blood takes readers on a journey of love, resilience, and redemption, revealing new truths about memory, identity, and family.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: It took me almost three months to read this book. Yes, it's over five hundred pages; I can do that much reading in a day; the reason it's taken me so long is purely emotional.

This horror is another example of why the Global Right is really the international fascist front. There is no hiding from the fact the US government is riddled with people who supported the perpetrators of the heinous, nauseating crimes Author Cohen Gilliland details. And no, the argument that they did not know what was happening is not true...I refer you to the astonishingly and damningly complete endnotes. Not one thing in this book is unsourced. The perpetrators' voices are unheard, though not for lack of trying on her part. Had I done any of these things, I don't know I'd've been willing to talk on the record about them.

Anyone who heard about "Alligator Alcatraz" and did not instantly go into resistance mode needs to read this book. This is what happens when fascist scum grab power. If you can read this and NOT think "I've got to do something, anything, to oppose this publicly", I'm ashamed for and of you. Not reading it is cowardly.

If that sounds like I'm judging you, you're right. I am.

It's long past time to coddle yourself. I assure you, if you think you and yours are safe, they are not. No one's "guilt" matters to people like this.

I was clear about why Author Cohen Gilliland chose to refer to the Madres and the Abuelas by first names, both her stated one of not having confusingly common last names on the page and her unstated one of creating greater intimate connection with them, but it felt more confusing for me. A reporter for The Economist is not going to be so inexperienced as to not think of that; it actually works to increase my readerly investment because it hammers into my brain the Everywoman who went on the Plaza to hold up signs, photographs, and stand there utterly exposed to the unpredictable actions of the gun-wielders was each of these enraged grieving mothers and grandmothers.

Read this story, then resist actively the actions of ICEstapo.

PALM MERIDIAN, Grace Flahive's satisfying lesbian-love in retirement set in 2067

PALM MERIDIAN
GRACE FLAHIVE
Avid Reader Press / Simon & Schuster (non-affiliate Bookshop.org link)
$14.99 ebook, available now

Rating: 4.25* of five

The Publisher Says: A rollicking, big-hearted story of long-lost love, friendship, and a life well-lived, set at a Florida retirement resort for queer women, on the last day of resident Hannah Cardin’s life—for readers of Less and The Wedding People.

It’s 2067 and Florida is partially underwater, but even that can’t bring down the residents of Palm Meridian Retirement Resort, a utopian home for queer women who want to revel in their twilight years. Inside, Hula-Hoopers shimmy across the grass, fiercely competitive book clubs nearly come to blows, and the roller-ski team races up and down the winding paths. Everywhere you look, these women are living large.

Hannah Cardin has spent ten happy years under these tropical, technicolor skies, but after receiving a terminal cancer diagnosis, she has decided that tomorrow morning she will close her eyes for the very last time. Tonight, however, Hannah and her raucous band of friends are throwing one hell of an end-of-life party. And with less than twenty-four hours left, Hannah is holding out for one final, impossible thing…

Amongst the guest list is Sophie, the love of Hannah’s life. They haven’t spoken since their devastating breakup over forty years ago, but today, Hannah is hoping for the chance to give her greatest love one last try.

As Hannah anxiously awaits Sophie’s arrival, her mind casts back over the highs and lows of her kaleidoscopic life. But when a shocking secret from the past is revealed, Hannah must reconsider if she can say goodbye after all.

Spanning the course of a single day and seventy-odd years, and bursting with irresistible hope, humor, and wisdom, this one-of-a-kind novel celebrates the unexpected moments that make us feel the most alive.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: The idea that people born in the 1990s will be retiring to (surviving) Florida in 2067 feels...exuberantly optimistic...but I'll go with it. More especially I'm thrilled at the notion of the right to die being well established in this future, and the existence of queer elder spaces is just ordinary, and hell! sign me up!

Of course I'd be well into supercentenarianhood in 2067, the year the book's set, which ya know what, maybe not so much, thanks anyway.

The point of this story is satisfying to me, the way at the end pf life one wants to take stock and to see what can be fixed among the innumerable errors we've made. Sophie, our PoV character's "one that got away," is invited to Hannah's end of life celebration. We see their relationship in flashbacks, which does not add suspense in the usual way...we know the relationship collapses...but does make Hannah's desire to see Sophie again before she chooses to escape the awfulness of her end-stage cancer more impactful.

It's really moving in a quiet, contemplative way. Wrenching losses remembered, not lived through in real time...choices muffed, but long ago...people loved and cherished for an entire lifetime who only know the event we're reading about and the actors in this present resolution as names, or as their survivor selves. It's poignant, it's moving, and I think it's done very well indeed.

It is not a Big! Dramatic! Finish!

I wouldn't've liked the read had it been so. I did very much wish I'd felt the flashbacks into Sophie and Hannah's early relationship in the 2020s had somehow sowed seeds for their world of 2067. I get just how spoiled a readerly reaction that is, yet as it is the flashbacks don't do more than tell me how awful the two people were in their youth. It isn't all that interesting, that point, and the net result is to take more away from the effect of the read than add to it.

I'm not at all trying to discourage you from reading the book. I hope you will because the imperfect future ahead of us is so hopefully presented in Hannah's story. It's got lots of problems, but when has the world not had problems? Have you not yet had enough of doomscrolling?

If so, come to Palm Meridian, settle in, and be told that the world will muddle through, that we will manage somehow to love and care for each other, and make it work as best we can.

THE SAFEKEEP, debut novel of lesbian awakening and compulsive, possessive desires

THE SAFEKEEP
YAEL VAN DER WOUDEN
Avid Reader Press (non-affiliate Bookshop.org link)
$13.99 ebook, available now

WINNER OF THE 37TH Lambda Literary Awards for Lesbian Fiction!

WINNER OF THE 2025 WOMEN'S PRIZE FOR FICTION! Read about it, and the author's heartfelr thank-you speech, at The Guardian (no paywall; please support them.)

Rating: 4* of five

The Publisher Says: An exhilarating, twisted tale of desire, suspicion, and obsession between two women staying in the same house in the Dutch countryside during the summer of 1961—a powerful exploration of the legacy of WWII and the darker parts of our collective past.

A house is a precious thing...

It is 1961 and the rural Dutch province of Overijssel is quiet. Bomb craters have been filled, buildings reconstructed, and the war is truly over. Living alone in her late mother’s country home, Isabel knows her life is as it should be—led by routine and discipline. But all is upended when her brother Louis brings his graceless new girlfriend Eva, leaving her at Isabel’s doorstep as a guest, to stay for the season.

Eva is Isabel’s antithesis: she sleeps late, walks loudly through the house, and touches things she shouldn’t. In response, Isabel develops a fury-fueled obsession, and when things start disappearing around the house—a spoon, a knife, a bowl—Isabel’s suspicions begin to spiral. In the sweltering peak of summer, Isabel’s paranoia gives way to infatuation—leading to a discovery that unravels all Isabel has ever known. The war might not be well and truly over after all, and neither Eva—nor the house in which they live—are what they seem.

Mysterious, sophisticated, sensual, and infused with intrigue, atmosphere, and sex, The Safekeep is a brilliantly plotted and provocative debut novel you won’t soon forget.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: Opposites attract. Hard to argue with that for most grown folks; but it's also hard to see what these women see in each other. Their oppositeness is deep-rooted, identity-forming stuff. That level and degree of oppositeness is hard to overcome; one partner's ordinary life is an existential rejection of the other.

Isabel takes the idea of the houseproud Dutch woman very much to an extreme. Eva presages women's liberation's rejection of housewife as an identiry; she's free-spirited and unmaterialistic. That comes across to Isabel as outrageous disrespect to herself and her poor, abused house.

What caused these radically ill-suited women to fall for each other? Forced proximity? I don't rightly know. They manage to have sex. I won't call it making love; and honestly how did pissy, controlling Isabel ever let herself get involved in something as inherently dirty, messy, and collaborative as sex in the first place?

I have questions about this. None are answered.

I read most of the book thinking I'd be stretching to three stars. The events at the end of the book...the way their romance does what Love really does to the Lover and the Beloved...got me a fractional hair over the four-star line. It's a first novel and there are some ways events are presented that do not help the reader invest in the plot. It's a strain to do some of the emotional heavy lifting because Isabel and Eva are so weirdly assorted as partners for more than a one-night fling that I kept needing to remind myself to tamp my eyebrows back down out of my hairline.

But Isabel says a line that shoved me there, one I can't repeat because the Spoiler Stasi has its truncheons and tasers ever at the ready...grow the fuck up, y'all...but its delicate evocation of the awareness od the inportance of the persona in intimacy that explained a lot of the book to me.

It's a big risk to leave something so important so late. I'm glad I didn't bail before I got there. I hope Author van der Wouden does something new soon.

THE MINISTRY OF TIME, a review I feel guilty for writing

THE MINISTRY OF TIME
KALIANE BRADLEY
Avid Reader Press/Simon & Schuster
$28.99 hardcover, available now

Rating: 4* of five

Interview with Kaliane Bradley by New Scientist on their YouTube channel. There's a six-episode BBC adaptation via A24 on the way!

The Publisher Says: A time travel romance, a spy thriller, a workplace comedy, and an ingenious exploration of the nature of power and the potential for love to change it all: Welcome to The Ministry of Time, the exhilarating debut novel by Kaliane Bradley.

In the near future, a civil servant is offered the salary of her dreams and is, shortly afterward, told what project she’ll be working on. A recently established government ministry is gathering “expats” from across history to establish whether time travel is feasible—for the body, but also for the fabric of space-time.

She is tasked with working as a “bridge”: living with, assisting, and monitoring the expat known as “1847” or Commander Graham Gore. As far as history is concerned, Commander Gore died on Sir John Franklin’s doomed 1845 expedition to the Arctic, so he’s a little disoriented to be living with an unmarried woman who regularly shows her calves, surrounded by outlandish concepts such as “washing machines,” “Spotify,” and “the collapse of the British Empire.” But with an appetite for discovery, a seven-a-day cigarette habit, and the support of a charming and chaotic cast of fellow expats, he soon adjusts.

Over the next year, what the bridge initially thought would be, at best, a horrifically uncomfortable roommate dynamic, evolves into something much deeper. By the time the true shape of the Ministry’s project comes to light, the bridge has fallen haphazardly, fervently in love, with consequences she never could have imagined. Forced to confront the choices that brought them together, the bridge must finally reckon with how—and whether she believes—what she does next can change the future.

An exquisitely original and feverishly fun fusion of genres and ideas, The Ministry of Time asks: What does it mean to defy history, when history is living in your house? Kaliane Bradley’s answer is a blazing, unforgettable testament to what we owe each other in a changing world.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: I know how petty and spoiled I'm going to sound in this review, but I can't, in good conscience, ignore this extremely promising debut novel. I'm a complete sucker for time-travel novels and stories, and all the weirdness that accompanies the (incorrect, in my opinion) History-changing antics of time travelers. (I think there are many worlds in the multiverse.) The notion here presented of making use of the lives of those who died too soon for Other Ends is one with a lot of appeal to me.

And yet this is a five-star idea in a four-star book. I love the idea! I like the execution because it's not fussy, doesn't cram in irrelevancies but *does* offer squads and fleets of enriching details, both about the past and the story-present, just a bit down our own road. So what's wrong?

She makes the spy story an excuse to tell this fundamentally romantic story, not this idea to propel a spy story. The way it's resolved is good just not great, and that's down to the wrong-endedness of the grasp. Nameless Narratrix is, it's absurdly evident from the get-go, going to fall in love with her new "expat" (coy bureaucratese for "kidnapped time-traveling hostage") and they are going to Do the Deed. I'm on record as not liking heterosex in my life, no matter where it comes from, so this was never going to work for me. But after thinking a lot about this book and its wonderful humor, its inventive take on the purposes of time travel, and its very well-limned characters, I realized I'd be just as tetchy if Nameless had been a man bedding a man the way god intended.

The problem for me is that I think the romantic plot is just too similar to the squads and fleets of inferior iterations of Outlander that litter the romance-reader's landscape. Why do more of the same? Well, in this case, because 1) it sells, and b) it's vastly...enormously...better-done than anything else in its competition.

But here's whiny little me, moaning "just leave it out!" as Nameless and her "expat" have headboard-smashing sex. Y'all are voting with your wallets, the book's a hit and rightly so! But it isn't the book I wanted.

Hence four, not five, stars. And my shamefaced admission that this is NOT the review that this book merited.