THE HAND OF IMAN, a title that's a statement of acts that carry tons of freight

THE HAND OF IMAN
RYAD ASSANI-RAZAKI
Arachnide Editions (non-affiliate Bookshop.org link)
$19.95 paperback, available now

Rating: 4.5* of five

The Publisher Says: Finalist, Governor General's Award for French-language Fiction

Dreaming is a luxury that few can afford. And yet, however inadvisedly, Iman dreams.

In an unnamed African country devoured by rampant urbanization and haunted by the mirages of Western prosperity, where for a few CFA francs a child can be bought and sold into slavery, Toumani's earliest education is in the tolerance of suffering. He endures one master then the next, holding his survival—his very self—with open hands.

For Iman, a black and white biracial boy with an elusive presence, the only viable option appears to be an escape to bountiful Europe, where everything must be easier. Obsessed with this idyllic elsewhere to the point of losing himself completely, he remains, for those close to him, an object of fascination difficult to define.

When Iman reaches out his hand to rescue Toumani from certain death, he sets in motion a friendship that may satisfy their need for connection but cannot fundamentally change their circumstances. What is the point of survival without hope for a more livable future? And what happens to them when they both love the same girl?

In this stunning translation of Ryad Assani-Razaki's award-winning debut novel, dreaming is a luxury that few can afford. And yet, however inadvisedly, Iman dreams.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: It's hard to read about children abused by parents; harder still to realize they cared so little about the child as to sell him into slavery. It is a child who is the only one to see humanity in Toumani, the only one to care enough about his personhood to do the minimally decent thing, putting out a hand to stop Toumani from being killed.

In the context of this read, this is *the* ray of hope.

There is nothing happy going on in this Francophone African country. The author emigrated from Benin to Canada so it's easy to make the leap as to where we are, and how we should be seriously respectful of the revealed reality of the characters' lives. It's really not so much a novel as a series of heartbreaking character sketches that perforce tell the stories of some small, insignificant lives. Which of course makes them look large and their very "smallness" on the cosmic stage makes them universal, relatable.

It's dark and difficult to read at times, the world's an uncaring place; and, remember this very clearly: No good deed goes unpunished.

Ever heard of Mani? These characters live in his world.

I am not uplifted by this story. I am impressed so many lovely sentences, so many trenchant images, form stacks and ricks and piles of clever images that never once leave off being bleak. North Sea in 1953 bleak; all set in sunny Benin...proof there is no geographic cure for what ails us as humans.

I'm very glad I read it, but it takes a match between mood of reader and mood of book to create that positive experience.

THE TAKEN GIRLS, Glenn Cooper thriller in his classic mode

THE TAKEN GIRLS
GLENN COOPER
Lascaux Media (non-affiliate Bookshop.org link)
$17.99 paperback, available now

Rating: 3.75* of five

The Publisher Says: From Glenn Cooper, the internationally bestselling author of the Cal Donovan thrillers, comes a gripping thriller of kidnapping, conspiracy, and what powerful men will do to hold on to what they have.

Two little girls vanish from a villa on the Calabrian coast—Victoria, five, and Elizabeth, eight, sisters, the granddaughters of an American billionaire. It looks at first like a kidnapping for ransom.

But no demand ever comes. No ransom means no one wanted money—they wanted the girls.

Years pass. Their grandmother's hair goes white. And then, on an ordinary afternoon, the girls come home. Victoria is still five. Elizabeth is still eight. The same faces, the same small hands—not a day older than the night they disappeared, and dying of something no child should carry.

Everyone wants a story that lets them sleep. The Vatican opens a quiet file on a miracle. The tabloids sell something stranger. But one man keeps pulling the thread everyone wants left alone—until it leads to an old Spanish estate, and to what the powerful will do to hold on to what they have.

Victoria and Elizabeth were not the first children taken. And they are still collecting.

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

My Review: It's never aliens. Or god. Never.

Just like the only monsters are people. For something to be SUPERnatural, we'd need to know everything that could ever happen naturally. A glance at the news will tell you we do not know everything that could happen naturally. So reading his very complex puzzle-box of a story was an exercise in seeing if the author could get me to the end without making me feel I'd been treated like a mushroom. (Kept in the dark and fed a lot of shit.)

I've read several of the author's religious-themed stories before, and found them like this one: Pleasantly diverting. I do wish he'd stop writing female characters, or take a sensitivity course...they're ciphers or stereotypes.

The patriarch who hires our omnicompetent investigator grated on my nerves. Marcus, said investigator, doesn't put a foot wrong that does not, in the end, result in the solution being moved forward. It's a bit annoying, but in line with most books in this chase-thriller genre. By the midpoint of the story there was a clutter of problems that were either going to get solved or niggle at me as unfinished business; nothing got left behind but it made the ending a breathless rush. That's fine for me but y'all who prefer endings that peel back layers will not enjoy it because it will feel rushed. I myownself would say it's calculatedly fast-paced, but that'a a poTAYto poTAHto argument I've found is not worth anyone's time getting into.

It was a read that engaged me but gave me no one to root for because the people were believably shitty. It's a good distraction that will never play games with your trust, people you don't like don't suddenly turn out to be sweetness and light playing a role (a trope I abhor) or suddenly doing other about-faces. The story resolves in line with its parameters only not quite so simply as one is led to expect. Nice work on that, Glenn Cooper!

WHIDBEY, evoking a planet-scale beauty spot to soothe and smooth the pain of victimhood

WHIDBEY
T. KIRA MADDEN
Mariner Books (non-affiliate Bookshop.org link)
$14.99 ebook, available now

Rating: 3.5* of five

The Publisher Says: A stunning literary achievement and portrait of three women connected through one man in the aftermath of his murder—the explosive and highly anticipated debut novel from beloved and award-winning memoirist, T Kira Madden.

Birdie Chang didn’t know anything about Whidbey Island when she chose it, only that it was about as far away as she could get from her own life. She’s a woman on the run, desperate for an escape from the headlines back home and the look of concern in her girlfriend’s eyes—and from Calvin Boyer, the man who abused her as a child and who’s now resurfaced. On her way, she has an unnerving encounter with a stranger on the ferry who offers her a proposition, a sinister solution, a plan for revenge.

But Birdie isn’t the only girl Calvin harmed back then. There’s also Linzie King, a former reality TV star who recently wrote all about it in her bestselling memoir. Though the two women have never met, their stories intertwine. Once Birdie arrives on Whidbey, she finally cracks the book’s spine, only to find too much she recognizes in its pages. Soon after, on the other side of the country, Calvin’s loving mother, Mary-Beth, receives a shocking phone call from the police: her only son has been murdered.

Calvin’s death sets into motion a series of events that sends each woman on a desperate search for answers. A complex whodunnit told from alternating points of view, Whidbey is searingly perceptive and astonishingly original. Exploring the long reach of violence and our flawed systems of incarceration and rehabilitation, this is a tense and provocative debut that’s sure to incite crucial questions about the pursuit of justice and who has real power over a story: the one who lives it, or the one who tells it?

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

My Review: "Be careful what you wish for," taken to apotheosis. Now including "be careful what you say out loud" because you can never know who is listening...what they want from you...what they will do with, and to, the thoughts you leave unguarded in the air.

A paranoid thriller about sexual abuse of girls does not sound like something I, sexually abused by my mother, will find pleasant reading. It wasn't prurient...it stops short of recreating the abuse...and it very properly presents the topic in high relief instead of flattened into caricature.

Abuse is not foregrounded, at least the mechanics were not. Emotional devastation is this story's heart. I'm not exaggerating, unless you're made of stone, this is a deeply sad and often brutal tome. Linzie is my personal most awful victim of abuse because she parades it for attention, for the validating fame her honesty affords her and the materially comfortable living that brings. If that's not sad....

Birdie is mid-process in trauma terms. Her loose lips, her willingness to talk when silence would serve better, isn't like Linzie's garrulous yappin' for the cameras, the ghostwriter, the audience. Birdie doesn't have a plan, a purpose, a canny angle to show and sell. Birdie can't keep the chirps inside. It's a far worse place to be, because it's doing bad things to her belovèd girlfriend Trace.

But every abuser has a mother. How often do we, as a society, stop to think about what it means to a person to see their child in the harsh glow of a perp walk? How much rage and hate can this lone soul transmute into denial? Mary-Beth is the character I wanted to hug, to stand before her with my arms aroud her and just let her cry. Whatever she did, didn't, couldn't, wouldn't do, she is the one whose role in this was the most devastating to me. Then, while expecting her son to come home to her after incarceration and mandated psychotherapy, she hears the words your blood freezes even thinking about: "your child is dead."

Oh. My. GOD.

Parts one and two make the cases. The stakes get set. The pain is explained. No one's an angel but each one's a clear, passionate survivor. Part three's where we hit the top of the loop on the roller coaster and time speeds up as things happen, people talk but the Doppler effect renders them only partly comprehensible, events occur too fast for old-man me to see why they're causally connected to the first bits. The ending...well...it's a first novel, I grade on a curve for those, but...dude. Resolving plot threads should not feel as though you're doing a time-sucking chore you don't really want to do. Whatever the real ending was, and I'm morally certain there was one, it probably took the murky misty part-three energy around the bend.

If Author Madden reads this (ha! don't read reviews, your publicist does that) please take this sentence away, where you should go now, with you: You have an outstanding literary touch, a visual vocabulary most never acquire, and you need to read Mary Renault and Patricia Highsmith novels.

Everyone else: Support debut authors, or we'll never get more work from them. But maybe check this one out of the library.

RESERVOIR BITCHES: Stories, outrage...rage...there's more in here than meets the eye

RESERVOIR BITCHES: Stories
DAHLIA DE LA CERDA (tr. Julia Sanches & Heather Cleary)
The Feminist Press at CUNY
$16.95 ebook, available now

Rating: 4.75* of five

The Publisher Says: LONGLISTED for the 2025 International Booker Prize

A debut collection of gritty, streetwise, and wickedly funny stories about Mexican women who fight, skirt, cheat, cry, kill, and lie their way to survival.

“Life’s a bitch. That’s why you gotta rattle her cage, even if she’s foaming at the mouth.” In the linked stories of Reservoir Bitches, thirteen Mexican women prod the bitch that is Life and become her. From the all-powerful daughter of a cartel boss to the victim of transfemicide, from a houseful of spinster seamstresses to a socialite who supports her politician husband by faking Indigenous roots, these women spit on their own reduction and invent new ways to endure, telling their own stories in bold, unapologetic voices. At once a work of black humor and social critique, Reservoir Bitches is a raucous debut from one of Mexico’s most thrilling new writers.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: If and/or when (honestly I'm all but certain it won't happen) the mooted TV series, via Amazon Prime and Spanish-language producers Perro Azul, arrives I will be *amazed* if even a third of rage and fury in these stories make it onto the screen. Since the Feminist Press mentioned this possibility when the book was first published in September 2024, nothing else has appeared on Amazon, The Hollywood Reporter, or even Perro Azul's Spanish-language websites. I expect it's a dead deal...given the truly hair-raising stuff in here, I'd be far more surprised if any production efforts were ever made. This is strong stuff. The *men* in charge of any budgets will not approve this one!

As is reasonable and customary in these parts, these thirteen stories will be dealt with by using the time-honored Bryce Method.

Parsley and Coca Cola details an at-home self-induced effort at aborting an unwanted child..."Yup, I got knocked up by a terrible lay," she says directly to us, recounting this latest blow from Clotho's shuttle as her life of bad luck...no visible dad, dead mom, now this...takes its own ugly pattern. A lucky break...an older woman who clearly knows the score...means a day or so of nasty pain, some passing of clots, and finally confirmed success.

Not for the squeamish, but I can vouch for its accuracy. 4*

Yuliana brutalizes our eyes with the inner monologue of a drug capo's heiress, the toughest of his children. "We women always speak, think, and act from the memory of our pain," she says to us as she recounts her revenge on the man who killed her high-school bestie via her new, um, protegée's well-honed skills as an angel of vengeance against men who abuse women.

The female of the species, fam. 4.5*

God Forgive Us, a cri de cœur, emitted by an old mestiza spinster who's spent her whole life caring for...and about...her duty, her reputation, after she and another sister murder a girl.

The girl was a machete-wielding robber, so it was self-defense. No legal problems ensue. But how terrible her guilt, how bitter the social dregs! She killed a girl! Because she and her sister thought the violent invader of their home was a boy.

But it was a girl! Her poor mother! 4*

Constanza proves that, when you have no center, nothing is ever going to hold you back. Unsettling. I felt...outrage, anger, contempt, quietly and at myself for how easily I saw her point and how terribly easily snuffing out a life could become a routine matter. It was a wake-up call for the snotty little moralizer inside to see the emotional rightness of tit-for-tat. 4 unsettled stars, and an extra session in therapy requested

God Didn't Come Through like she ever does, mijo. This is the other side of "God Forgive Us," in case you want to practice your lip-pursing action. First mention in the collection, to my surprise, of Santa Muerte...and I now twig to the fact I haven't mentioned the untranslated Spanish yet!

Words here and there are dropped without full context but with plenty of cues, so you're never left at sea. Offshore in a sturdy dinghy, yes; but always in sight of the land that meaning provides. 4.5*

La China takes us inside "Yuliana"'s murder plans, and an account of the action that, while revolting, was not prurient or distastefully lingering.

I'm a little unnerved that it's so easy to put myself into the headspace of these outsiders, to see there's a real "why" behind the awful whats they're doing. I'll need another extra therapy session soon. 4*

The Rose of Sharon is so short it barely counts a percentage point in the read. It is every goddamned thing I despise about religion in one caustic, awful vignette. I still see its vileness in front of my eyes...

Vomit trickled from his mouth, smelling of liquor. I dropped to the floor with tears in my eyes and prayed he would choke. "Dear Lord, let the walls of Jericho fall before my eyes, throw off my shackles and drag this man to the gates of Hell. Give me victory over my enemy, knock down the walls of my prison and the fortresses that cast down my heart."

So very godly, no?

This is not the end, or the ending. Suffice to say myths enacted are always enacted for evil. 4*

Regina is the deets behind "Yuliana"'s inciting incident. Not memorable, feels...hmmm...like a makeweight, a tossed-on bread roll to get the scale where it needs to be.

Plus, it's ever-so precious. 3*

Mariposa de Barrio is what happens when life's a lemon grove, the lemonade's for the owner, all you're gonna get is the empty, fleshless rinds...boil up some sugar and candy that peel, mija! Never mind how much it costs. Bills can get paid all kinda ways, but all of 'em Later. 3.5*

The Smile makes the femicides on La Frontera deeply personal. Somehow even the appalling facts do not feel prurient, since they're not lingered over; I like to think this actually happened, the ending I mean, at least once. 4*

Sequins "Masculinity is like marzipan: fragile as hell, queen," says our transfem narrator. Let me tell you, seeing that observation in a defector from The Boys was a bitch-slap like no other. Then, the price for laughter: murder, femicide again, only this time the details are there. It's brutal to read but what human could do that, all that, to a living person?

An evil one, the evil ones are the killers not ever their victims. Blood does wash away "sins"—the victim's. 4.5*

Playing with Fire is the funniest story here, among some weirdly funny, but not nice, stuff. This one is rip-your-shorts laughing fun.

Professional courtesy is not just between lawyers. 5*

La Huesera, last in line, is more novelette than story.

Fucking brutal. Horrifying. Enraging. La Huesera adressed de profundis:

Even if only part of your ashes...are under my bed, the way I see it, your bones have been gathered. I hope someday I'll get to hear you howling in the night.

Saving the best for last, Author de la Cerda. 5*

SUE BLACK'S PAGE: WRITTEN IN BONE: Hidden Stories in What We Leave Behind, & ALL THAT REMAINS: A Renowned Forensic Scientist on Death, Mortality, and Solving Crimes

ALL THAT REMAINS: A Renowned Forensic Scientist on Death, Mortality, and Solving Crimes
SUE BLACK
Arcade Publishing (non-affiliate Amazon link)
$18.99 ebook, available now

Rating: 4* of five

The Publisher Says: For fans of Caitlin Doughty, Mary Roach, Kathy Reichs, and CSI shows, a renowned forensic scientist on death and mortality.

Dame Sue Black is an internationally renowned forensic anthropologist and human anatomist. She has lived her life eye to eye with the Grim Reaper, and she writes vividly about it in this book, which is part primer on the basics of identifying human remains, part frank memoir of a woman whose first paying job as a schoolgirl was to apprentice in a butcher shop, and part no-nonsense but deeply humane introduction to the reality of death in our lives. It is a treat for CSI junkies, murder mystery and thriller readers, and anyone seeking a clear-eyed guide to a subject that touches us all.

Cutting through hype, romanticism, and cliché, she recounts her first dissection; her own first acquaintance with a loved one’s death; the mortal remains in her lab and at burial sites as well as scenes of violence, murder, and criminal dismemberment; and about investigating mass fatalities due to war, accident, or natural disaster, such as the 2004 Indian Ocean tsunami. She uses key cases to reveal how forensic science has developed and what her work has taught her about human nature.

Acclaimed by bestselling crime writers and fellow scientists alike, All That Remains is neither sad nor macabre. While Professor Black tells of tragedy, she also infuses her stories with a wicked sense of humor and much common sense.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: Professor Dame Sue Black has spent a long lifetime giving those deprived of life and their families the closure she has learned how to give them, their families, and the Body Politic. This book is a report of how she has done this important task that offers communities and survivors a (sometimes partial) restoration of ma'at. She presented a TV show in the teens called History Cold Case. I've watched those shows with great interest, several times, and honestly never understood why there were only two seasons of it. There can be no end of distant-enough ancient cases to investigate. I suppose the ratings weren't up to more...yet our cultural moment is full to bursting with forensics-based fiction. Why this isn't still running, then, is deeply mysterious to me.

The facts that Author Black works with in her job are often only described in jargon; looking them up, that seems like a means she uses to buffer her readers from the full weight of the horrifying things humans do to each other.

Starting off easy, we're led through her early life at a spanking pace. Her decision to become a firensic scientist was oddly inevitable, though she was not and is not a gloomy goth type. I get the strong impression she'd be a right hoot to sit down with down the pub. Surprisingly she's been a lead investigator at the sites of multiple human-rights violations, like Kosovo. One would imagine this would rob a person of the will, even ability, to find perspective in her job's inescapable conclusions.

Not so. This is a rugged, centered, practical and skilled person. Spending three hundred-plus pages with her was interesting, informative, and...oddly...a lot of fun. Given the deeply unhappy subject matter, a fifth star wasn't likely to materialize, but all four that were available shine bright on this very well-made book.

I recommend it to y'all legions of CSI, NCIS etc. etc. shows, the many thousands of us who read Jimmy Perez and Jackson Brodie mystery procedurals, and to anyone who just likes to know weird stuff.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


WRITTEN IN BONE: Hidden Stories in What We Leave Behind
SUE BLACK
Arcade Publishing (non-affiliate Amazon link)
$13.99 ebook edition, available now

Rating: 4* of five

The Publisher Says: Winner of the Crime Writers’ Association ALCS Gold Dagger for Nonfiction— A tour through the human skeleton and the secrets our bones reveal, from the author of All That Remains

In her memoir All That Remains, internationally renowned forensic anthropologist and human anatomist Dame Sue Black recounted her life lived eye to eye with the Grim Reaper. During the course of it, she offered a primer on the basics of identifying human remains, plenty of insights into the fascinating processes of death, and a sober, compassionate understanding of its inescapable presence in our existence, all leavened with her wicked sense of humor.

In her new book, Sue Black builds on the first, taking us on a guided tour of the human skeleton and explaining how each person's life history is revealed in their bones, which she calls "the last sentinels of our mortal life to bear witness to the way we lived it." Her narrative follows the skeleton from the top of the skull to the small bones in the foot. Each step of the journey includes an explanation of the biology—how the bone is formed in a person's development, how it changes as we age, the secrets it may hold—and is illustrated with anecdotes from the author's career helping solve crimes and identifying human remains, whether recent or historical. Written in Bone is full of entertaining stories that read like scenes from a true-life CSI drama, infused with humor and no-nonsense practicality about the realities of corpses and death.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: A step back from the storytelling done in her first book, this book goes through the human skeleton to consider the way a life...and a death...affects the bone in question. I'm very involved as she discusses the ways we unthinkingly abuse our very skeletons, and the way that story is memorialized in the bones we leave behind.

Often enough the things that happen to us after we're born leave the most horrific traces. DO NOT READ THIS BOOK IF REPORTS OF CHILD HARM CAUSES YOU DISTRESS.

I was revolted in this book, more than the first, by the reports of the reasons people's skeletons show enduring damage. The harm we do, or tolerate being done to others, disgusts me. Author Sue Black has seen, understood, and reported on so much more than I will ever see or learn about...and yet she has maintained perspective, has developed immensely valuable skills, has made a positive difference in the social fabric of many communities and families. I am deeply impressed by her. I am awed at how much good a person whose career has led her down very, very dark paths following horrifyingly evil actors has and can do.

It is not for everyone, but if you can endure the child-harm descriptions, this is a weirdly hopeful story. Author Sue Black is facing horrors to restore the rents people have torn in ma'at.

Fred Rogers taught me, "look for the helpers," whenever there's a tragedy. Sue Black is who he meant. At this moment in time, I appreciate knowing there are still helpers out in the world.

ORIGIN STORY, tough, trying reading for this maternal sex-abuse survivor

ORIGIN STORY
JENDI REITER
Saddle Road Press (non-affiliate Amazon link)
$7.99 Kindle edition, available now

Rating: 4* of five

The Publisher Says: What is the Poison Cure? For Peter Edelman, it's his alter ego in the comic book he's writing, a mysterious anti-hero who seduces and kills child abusers—a storyline that's bringing up his own long-repressed memories. For his co-author Tyler "Tai" Wick, a genderfluid teen artist in the group foster home where Peter is employed, it's the social workers who will deem him fit for adoption if he will suppress his female self, which they consider a split personality from his traumatic years working the streets. And for fashion photographer Julian Selkirk, who's trying to get Peter to say "I love you," it's the Christian faith that offers to help him break intergenerational patterns of alcoholism and violence, but at the cost of rejecting his sexuality.

Against the backdrop of late-1990s New York City sexual politics, these characters strive to redefine home and family in ways that are strong enough to contain their truths. From a Miami comic-book convention to a Christian men's retreat in Georgia, from an elite New Age wellness center to a BDSM dungeon in Manhattan, Origin Story follows their quest to determine the nature of healing and the price we pay for it.

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

My Review: Adult men dealing with maternal sexual abuse is going to stop most of you from picking this up.

Conversion "therapy", kink shaming, and the panoply of misunderstandings and bad takes that was 1990s-era psychotherapy should finish the remainder off.

Too bad. This is a solid love story between two deeply damaged men whose lives are somehow *better* when they're together. I'm really familiar with all the huge issues dealt with in here. I know these struggles. I think they're well-represented even when they're really hard to read.

If you're up for a very high-angst, dark and tough issue read, with a believable (though unsatisfying to me) HFN ending, this will apparate like it's dusted in Floo Powder into your cart. I myownself will never read it again. And I wish the comics stuff (which bored me) had been cut.

I'm really glad I'm seeing my therapist soon.

2025 WORLD FANTASY AWARD FINALISTS: THE BUTCHER OF THE FOREST, Premee Mohamed's body horror/dark fantasy novella

THE BUTCHER OF THE FOREST
PREMEE MOHAMED
Tordotcom Publishing
$18.99 trade paper, available now

Rating: 4.5* of five

FINALIST for the 2025 World Fantasy Award! Winner announved at this year’s World Fantasy Convention, which will take place in Brighton, United Kingdom, from October 30 to November 2, 2025.

The Publisher Says: A world-weary woman races against the clock to rescue the children of a wrathful tyrant from a dangerous, otherworldly forest.

At the northern edge of a land ruled by a monstrous, foreign tyrant lies the wild forest known as the Elmever. The villagers know better than to let their children go near—once someone goes in, they never come back out.

No one knows the strange and terrifying traps of the Elmever better than Veris Thorn, the only person to ever rescue a child from the forest many years ago. When the Tyrant’s two young children go missing, Veris is commanded to enter the forest once more and bring them home safe. If Veris fails, the Tyrant will kill her; if she remains in the forest for longer than a day, she will be trapped forevermore.

So Veris will travel deep into the Elmever to face traps, riddles, and monsters at the behest of another monster. One misstep will cost everything.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: Being one who really internalized the truism "No good deed goes unpunished" and its corollary "Never reveal how competent you are because then you will always get the job," I was all set to like this iteration of these aperçus. I am happy to say, nothing in the read convinced me otherwise.

Veris, whose shocking, likely unique ability to survive a trip into Elmever forest has landed her the unenviable and possibly lethal job of rescuing kids lost in there, is a good person. Her exploit in Elmever was not last year, or even last decade...she is solidly in her middle years now. She would also like to enter cronehood, thank you very much, and that might not happen unless she gets the stupid kids out of this haunted, evil forest. The stupid kids that belong to the local wicked overlord. The foreign, wicked overlord.

Of course this woman of middle years and possessed of close loving ties to her community of friends and family will drop everything and rush off to rescue this awful man's kids at risk of disappearing into the horrors she overcame before. You just need to ask!

And threaten everyone she loves with horrible deaths.

Thus are the stakes established. This is going to be a Quest with a difference in dramatis personae. Since Quests are about inner discovery through outer-world problem-solving, we are accustomed to seeing them feature young people. This time Verity, who has already solved the puzzle of surviving a day in accursed Elmever forest, must return to figure out the mystery of the place. The difference? A puzzle has one correct answer, a mystery has many possible solutions, varying shades of Rightness.

Part fairy tale with its lessons quietly taught, part adventure horror story with its body horror lightly sprinkled in, part cosmic horror with its universal stakes salted on...this novella packs a lot into its one-sitting length. Enough that it might repay breaking the read into two sessions.

While the ending fits with the story, and concludes the stakes satisfyingly, I do not think the usual audience for Quests will be all that pleased with this iteration of the storyverse because its stakes are...mutable. Veris faces down lots in this tight package. She makes her peace with the past, as all of us around her age must; she does the right thing by her lights, as we all hope to do in life; she learns that her life of answering puzzles and solving mysteries can not prepare her for anything to come except in habits of mind. The answers are, maddeningly, never the same.

Sound like my forties. Yours too, I wager.

DOUGLAS SKELTON's Rebecca Connolly series: THUNDER BAY, THE BLOOD IS STILL, A RATTLE OF BONES

THUNDER BAY (Rebecca Connolly #1)
DOUGLAS SKELTON
Arcade CrimeWise
$25.99 hardcover, available now

Rating: 4.25* of five

The Publisher Says: Stoirm’s secrets are worth killing for in this gripping thriller for readers of All the Missing Girls and Neon Prey.

When reporter Rebecca Connolly gets a tip that suspected murderer Roddie Drummond will be returning to the island of Stoirm, she smells a story. Though never convicted in the death of his girlfriend Mhairi fifteen years earlier, Drummond is still guilty in the eyes of many islanders, and his return for his mother’s funeral is sure to stir up old resentments, hatreds, possibly even violence. Rebecca has another reason for going to Stoirm. Her own father came from there, but he never went back, and he always refused to speak of it or say what drove him away.

Defying her editor, Rebecca joins forces with local photographer Chazz Wymark to dig into the mystery surrounding Mhairi's death and her unexplained last words, “Thunder Bay”—the secluded spot on the west coast of the island where, according to local lore, the souls of the dead set off into the afterlife. When a string of violent events erupts across the island, Rebecca discovers the power of secrets, and she must decide what to bury, and what to bring into the light.

Longlisted for Bloody Scotland's McIlvanney Prize for best crime book of the year.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: Journalists make great sleuths for a series because asking questions and poking into stuff others would prefer to leave alone is literally their job description. They're also, by training, very, very sensitive to being lied to and misdirected. Plus the police know they really need what journalists have...the public's attention...so they tend to understand that cooperation is the best way forward if both sides are to get what they want and need.

This series opener relies on an investigative journalist, Rebecca Connolly, ignoring her editor's instructions to leave a juicy story about a past crime alone. A murder happens, the perp...in everyone's eyes a guilty man...fled his little gossipy island community after the Scottish verdict is handed down (loosely translatable as "not guilty but don't do it again"), leaving all islanders convnced that he absolutely murdered the beautiful, popular girl he was living with. Now, fifteen years later, he's back. Things on the island are changing, luxury vacation destination development is being proposed, opposed, and debated, and here's Roddie coming home to a place that emphatically does not want him.

What unfolds is a corking raking-up of old secrets, including some from Rebecca's family that's from this island. There is an expected amount of anti-social behavior, mostly in the past, but the homophobia and domestic violence here could offend a sensitive reader. It isn't prurient in its use but it is present and neither downlayed nor valorized. Your personal thresholds for this kind of action should be your guide in picking the book up.

The very best thing about this story is the intensity of place in it...the island, the islanders, the outsider (Rebecca) come to stir things up and ask questions about her own family connection to the place...all vividly described and strategically deployed to lure the reader in and cause the readerly radar to see false images and think they're facts. This requires Author Skelton to deploy an unweildy cast of characters and to require the undivided attention of his reader. The late Connolly père backstory, and its deep-past relationship to the story told here, felt like that one-too-manyeth bite of pecan pie with whipped cream...so tasty but just should've stayed on the plate because now it's all a wee bit much. The rhetorical palate-cleansing swig of coffee that is Rebecca's full comprehension of her father's reason for being so closemouthed about his youth on the island wasn't quite enough to keep the fifth star on this stellar debut effort. The big reveal of it was, to be honest, anti-climactic to me because I thought "...really...? this is what you were traumatized by, with all the other stuff going on?"

So, not a perfect read but, as a series-starter, darn good entertainment. Worth your eyeblinks and your gold.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

THE BLOOD IS STILL (Rebecca Connolly #2)
DOUGLAS SKELTON
Arcade CrimeWise
$25.99 hardcover, available now

Rating: 4.5* of five

The Publisher Says: Investigative journalist Rebecca Connolly returns in this riveting, immersive thriller from the author of Thunder Bay—for readers of Ian Rankin, Val McDermid, and Denise Mina

When a man in eighteenth-century Highland dress is found dead on the site of the Battle of Culloden, where Bonnie Prince Charlie led his forces to a rout seared into Scottish memory, Rebecca Connolly takes up the case for the Chronicle. A controversial film about the rebellion and battle is being shot nearby, and it has drawn the ire of the right-wing nationalist movement Spirit of the Gael. Is there some link between the murder—the weapon used to impale the man leaves no doubt it was murder—and Spirit of the Gael or the shadowy militant group New Dawn, thought to be associated with them?

Meanwhile, in the working-class part of town, Rebecca's assignment to cover a protest against the placement of a convicted child molester into the community leads her to Mo Burke, the unlikely protest leader. Mo is a formidable woman, but she is also the matriarch of a known crime family and usually prefers to shun the spotlight. What has drawn her out? And what of her two grown sons, who share in the family business? The older one, Nolan, with Ben Affleck good looks, is clearly intrigued by Rebecca, as she is by him, despite her better instincts to steer clear of their dangerous, violent world.

And then another body is found, this one wearing the Redcoat uniform of the victorious British army.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: There's a theme developing here...huge casts of characters, this time with lots of Scots Gaelic spellings for many things, people, organizations. Rebecca, our sleuth, stumbles into another community buzzsaw as she covers the protests against a convicted pedophile being housed in a working-class neighborhood that happens to be the turf of a crime family...in its most literal sense. The matriarch, Mo, is an understandably publicity-shy person. She has broken her public silence to lead the protests against the pedophile's housing among her people. Add in a right-wing politico out to woo voters to his vile cause by stoking paranoia (*sigh* in Scotland, too?) to a terrorist organization sowing fear and distrust plus a major motion picture using the touchy site of the Battle of Culloden and we're away!

The narratives are as expected loaded with wonderfully observed and described moments, people, emotions, and places. Possibly a bit harder to take in with equanimity are the anonymous narratives of a survivor of sexual assault. I was put off by them, but as the ending unfolded, I understood why Author Skelton made that particular choice. Be aware that it exists in the narrative, but also that it serves a plot purpose beyond prurience.

Journalism is undergoing a lot of changes in the internet age. Rebecca's job is, she feels, unstable because there have been some executive ownership shifts at her paper. What that means for her future is, clearly, to be determined...along with her interesting taste for local crime-family man Nolan. His mother, redoubtable Mo, isn't at all pleased with her son because he's done with crime and because he's been clear with her that he's not going to back away from fascinating, exciting Rebecca. This conflict is very clearly going to cost all concerned a lot of tears, stress, and heartache. *eager hand-rubbing*

The deaths at Culloden and the ugly truths undergirding their choice of methods and victims are part and parcel of the changes Brexit and the forces underlying it have revealed in Scottish society. The passions that nationalism, or I suppose tribalism is closer to the meaning I want, evokes in people are never more blatant than when History puts on her Mythmaking apron and brews up social poisons of stunning strength. What Author Skelton does with this, as with Mo and her criminal family, is scrape off the filthy film of facile propagandizing (he reserves that for Finbar the politico) for a clear-sighted look at why people adhere to often deeply destructive Causes and ideals. Means are never separable from ends. Ends are never separable from needs. Needs dictate the means at one's disposal. Round and round we go, where we'll stop nobody knows...even up to the moment that death results from in/actions that seem perfectly reasonable on their face.

There's a truly terrible sacrifice demanded by Justice, of course, and it strains everything in Rebecca's journalistic world, as well as in her emotional core. The journalist's liaision she of necessity maintains with the police is costing her dearly, and won't stop in the future. Her enemies have chosen her, as she would prefer not to make enemies at all. But that's what makes the complexity and enmeshment of the reader's intellect in the casuistries Rebecca must purvey, or puncture, or both in turn, so worth the effort.

You won't be surprised that I can't give five stars to a series mystery, given the nature of the beast is to scratch the ma'at rash that murder represents erupting on the body politic. Treading the same ground comes with costs. One of them is breaking new ground, so this four-and-a-half star read is as close to five as I myownself feel I can come.

I will say that the ending is both condign and very sad. It sets us up for some dark future probabilities and honestly I can't wait to see them.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

A RATTLE OF BONES (Rebecca Connolly #3)
DOUGLAS SKELTON
Arcade CrimeWise
$26.99 hardcover, available now

Rating: 4.5* of five

The Publisher Says: In 1752, Seamus a’Ghlynne, James of the Glen, was executed for the murder of government man Colin Campbell. He was almost certainly innocent.

When banners are placed at his gravesite claiming that his namesake, James Stewart, is innocent of murder, reporter Rebecca Connolly smells a story. The young Stewart has been in prison for ten years for the brutal murder of his lover, lawyer and politician Murdo Maxwell, in his Appin home. Rebecca soon discovers that Maxwell believed he was being followed prior to his murder and his phones were tapped.

Why is a Glasgow crime boss so interested in the case? As Rebecca keeps digging, she finds herself in the sights of Inverness crime matriarch Mo Burke, who wants payback for the damage caused to her family in a previous case.

Set against the stunning backdrop of the Scottish Highlands, A Rattle of Bones is a tale of injustice and mystery, and the echo of the past in the present.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: First, read this:

              Near Ballachulish, the Scottish Highlands, 1755
The red-coated soldier was a bloodstain against the dull sky and drab scrub on the hill.

It had a name, this desolate lump above the waters, a heathenish Scotch concotion of sounds, but he was damned if he could pronounce it. To him it was little more than a pox-ridden mound of dirt that drew the elements like a hedge whore did corn-faced beard-splitters.

The waters of the lake shivered as chill breeze weaved its way up the hill to find his solitary figure standing post. Private Henry Greenway huddled deeper into his coat, watching the small ferry being rowed across the narrows. He wished he was in his billet, a cup of hot grog in one hand and a mutton pie, warm from the oven, in the other. This was a pointless duty, a punishment for not taking proper care of the Brown Bess he now crooked loosely in one arm. His sergeant would be displeased to see him cradle the gun so carelessly, except there was no one here to bear witness, except the blasted elements and the one he guarded, who was beyond caring, Greenway wagered.

There's no question that scene sets a very clear tone...and it's one that very much resonates through this third entry in the Rebecca Connolly thriller series.

With the new life she lucked into at the end of book two lurching into gear, Rebecca Connolly can truly feel the cold truth of freedom on her neck: No one can say no but no one needs to answer her questions, or give her leads, or so much as consider offering her the chance to do what she most wants to do: fix stuff.

She's got to build her reputation all over again, in a new and different world of newsgathering, and she loves it. When Rebecca's last adventure ended in so much loss, yet so much opportunity being spread before her, this story is the one that unfolds to her horrified fascination. James Stewart, Tanist of Clan Stewart and a wrongfully convicted victim of judicial murder, has a strong resonance with an imprisoned modern-day James Stewart convicted of murdering his politician lover...though to be honest there's pretty much no sensible motive (at least to my mind) for him to have done so, and he insists that he didn't, just as the eighteenth-century James did. Because I am indifferent to spoilers, I wikied up the long-ago story and spent the rest of the book looking for the ways the current story resonated with it. Rebecca, not having my information, gets involved in this fearsomely complex muddle blind to these clues. This situation is, unsurprisingly, one that draws in her old foes from the last book. It was handled in what I found to be a plausible way.

The main character is one I love spending time with, and love sharing troubles with. This outing into the world of crusading journalism is as deeply satisfying as before. Rebecca has a difficult group of folks whose involvement in her current investigative project is central...the mother of a jailed innocent, for example, has every reason not to respond positively to a journalist...but no access to an established powerbase to give her an effective lever to prise open their minds. All she's got is her tenacity and her inability to admit defeat.

These qualities work wonders. They usually do. Afua, the mother of the present-day innocent James Stewart, is a vividly drawn rageball, betrayed and abused by those with power over her and her son's fate. She's inflexible...it's cost her a lot, but when you have no one to turn to you need to be strong...and she's got a mother's outrage at her child's ill treatment fueling her. Watching as she learns to tolerate Rebecca's "interference" in her own chaotic efforts to free her James was frustrating for me. Stiff-necked inflexible people are maddening!

What makes The story satisfying to read is the usual tension between a homophobic culture and the reality of the ease with which anyone Othered can be used to hide real criminals on the one hand, and Author Skelton's clear and unwavering presentation of these gay people as ordinary, average people. It's distressing but refreshing to see the sexual nature of the characters simply be a fact, and only the bad actors and evildoers investing in their Othering for the lowest of motives.

Literally everything about these reads is immersive...landscapes, relationships among the characters, the background concerns of twenty-first century Scotland and of news media outside major cities and underneathe international radar, which is of course where all of us live our real lives. They're present and they're intentional but they aren't competing for your readerly attention. Author Skelton makes the propulsive story much richer by allowing the reader to choose how much thought to devote to these interrelated parts while assuring the main focus is always what we saw on the marquee.

Far and away my favorite of the three reads to date.

WIIJIWAAGANAG: More Than Brothers, a "what-might-have-been" tale of life in a residential school

WIIJIWAAGANAG: More Than Brothers
PETER RAZOR
Makwa Enewed
$29.95 all editions, available now

Rating: 3.75* of five

The Publisher Says: Niizh Eshkanag is a member of the first generation of Anishinaabe children required to attend a U.S. government boarding school—schools infamously intended to “kill the Indian and save the man,” or forcibly assimilate Native students into white culture. At the Yardley Indian Boarding School in northern Minnesota, far from his family, Niizh Eshkanag endures abuse from the school staff and is punished for speaking his native language.

After his family moves him to a school that is marginally better, he meets Roger Poznanski, the principal’s white nephew, who arrives to live with his uncle’s family and attend the school. Though Roger is frightened of his Indian classmates at first, Niizh Eshkanag befriends him, and they come to appreciate and respect one another’s differences. When a younger Anishinaabe student runs away into a winter storm after being beaten by a school employee, Niizh Eshkanag and Roger join forces to rescue him, beginning an adventure that change their lives and the way settlers, immigrants and the Anishinaabe people of the Great Lakes think about each other and their shared future.

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

My Review: There is a lot to be said for reliving one's past...only better. The late Peter Razor (While the Locust Slept, 2002) was a former inmate of the successor institution to the Residential Schools. He had skin in this game and he was not going to sit quiet while the world kept not knowing what really happened to boys like him.

Having written a very powerful memoir (it's Kindleable for under $10!) he turned, as many elders will, to making his past a better place than it actually was. Only difference is, he wrote fiction instead of telling tales. He's aimed the resulting fantasy retelling of the past at young adults, wisely, and was in the process of writing it when he died at 90. His family have completed and edited the book, and retained his use of his native tongue and included for the white people an Ojibwemowin-English glossary at the end of the book. As there is no real issue with understanding most of what is said in either language, I'd say it's a feature more useful for completists who would like to gain a sense of the Ojibwemowin language's bones.

That said, I know many readers find it very difficult to immerse themselves in the story if a not-English language is present. Understand that is where you're headed, then, and decide to come on the trip or not. It is a trip...the two boys, Niizh and Roger, go on a quest to find a younger student who ran away from the school after a beating delivered by a staff member.

The hijinks that ensue aren't belief-stretching, what with white people having collywobbles that this Indian is in company with a white child! shockhorror! and so on and so forth. It's a YA story, aimed that way, so it's no surprise to anyone that the results are all good, the mean people who beat the one child are sad and redeemed of their cruel, cruel ways, that kind of thing.

I did not read this book for its story. I read it for its heart. A man whose early life was truly, tragically scarring wrote a lovely revamp of his experience of the world, extending it to the future with a smile and a tear. "It can be better, it should be this way not how it was...not ever again," says this story in its very existence. And that being a message I agree with completely, and support entirely, I wanted to read the story from someone whose standing to tell it is impeccable.

What Author Razor did not have was a writer's experience. It's not a knock against him. He had no reason to develop such a talent through practice and skill-learning. And exactly how would he have done that? So it's not a question of "come back when you're more practiced at your craft," it's a fact of life: The story, as told, has little suspense and not a lot of finesse.

Those are not reasons to pick it up. Learning what a Native American of the Anishinaabe people thought of his childhood, and what by extension others should learn from those shared feelings, those are reasons to pick up the book. Hearing, in your mind's ear, the cadences of the not-English language, and learning its broad outlines. Understanding the pain and the injustice inflicted on an official Government policy of "kill the Indian, save the man," and reckoning with the diseased thinking that could come up with such flimsy lies to cover the real purpose of assimilation. These are the reasons to pick up the book, and to gift it to early teenagers whose world-views are even now hardening. We can not afford to perpetuate the divisions that capitalism instils to ensure its profits. The world is in a genuine, verging on existential, crisis and we need each and every mind, eye, and hand operating at peak capacity to avoid horrific disaster.

IS MOTHER DEAD, Norwegian author's toxic tale of mothering & EARTHLINGS, Japanese author's horror story of abused, delusional daughter

IS MOTHER DEAD
VIGDIS HJORTH (tr. Charlotte Barslund)
Verso Books
$26.95 hardcover, available now

Definitely read this Astra Magazine interview with Author Hjorth.

Rating: 4* of five

The Publisher Says: A cat and mouse game of surveillance and psychological torment develops between a middle-aged artist and her aging mother, as Vigdis Hjorth returns to the themes of her controversial modern classic, Will and Testament.

'To mother is to murder, or close enough', thinks Johanna, as she looks at the spelling of the two words in Norwegian. She's recently widowed and back in Oslo after a long absence as she prepares for a retrospective of her art. The subject of her work is motherhood and some of her more controversial paintings have brought about a dramatic rift between parent and child. This new proximity, after decades of acrimonious absence, set both women on edge, and before too long Johanna finds her mother stalking her thoughts, and Johanna starts stalking her mother's house.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: Twenty-ish books is a damned fine career. Author Hjorth and Translator Barslund are quite a team of creators, bringing this still-expanding storyverse from Norway to the US English-language market. They do it skillfully...and they do it, thankfully, quite often.

"Do I confront my deepest self?" asks Johanna, our narrator, in a passage that honestly sums up the entire experience of reading Author Hjorth's writing. She is in a deep personal crisis, reaching out to her long-estranged mother after decades of ill will that she caused with her art. Paintings Johanna created caused her mother, as well as her sister, to see things that family amnesia demanded be kept silent. Johanna was, and still is, unwilling to be silent. She has reached her sixties, though, a time in life when time itself looks and feels very, very different than it does even five or six years prior. Building bridges between ourselves and those responsible for our present-day being can, in many families, present challenges that feel insurmountable.

Johanna, as a visual person, sees her aging self as partly her mother "...on whose model my body is being shaped, as if I were clay contained in a form." She is facing mortality, and seeing how morality is molded within our relatively short-term bodily accommodation. She is finally reckoning with her mother's and her sister's deep sense of betrayal at her hands...while never believing she was wrong, she recognizes at last that they are hurt. As Johanna thinks through her complicated life, she muses on the natural surroundings her Norwegian home is in; any time she says, in that context, anything about "Mother" I wonder if she's talking about her mother, or OUR Mother-the-Earth...and these moment of being Mothered in nature are so sharply contrasted to her family-mother's unhappiness-making unmotherly ways.

But at such a cost to her own mental health...she obsesses about the family she broke, and did that deliberately, then ran away from the consequences for half her life. The author's formatting, daunting looking as it is, actually serves as a strong support for the story. Johanna is in the throes of a crisis. She doesn't think like a normal person. She is quite simply disintegrating into the pieces she reassembled through her art. The pages are designed to make concrete what could be lost in any other design choice.

But if the daughter sees her future in looking into the mirror of her mother, that mother sees a past that failed her in important ways, and sees herself and her failures writ live and large. Johanna's mother's rancor and rage aren't going to go away, and she (and her other daughter) have had decades to "get their story straight" as it were. The entrenched narratives of hurt on both sides bode ill for a meeting of the minds....

This beautifully written and translated book serves as a reminder to us all that we don't get to be victims all by ourselves. All damage done is reciprocal, and there is no escape from retribution. Self-delivered retribution, most commonly of all.

It's not a perfect book, as none ever can be. I rate it four of five stars because it's not a long book but it is a repetitive one. We hear the entire story in Johanna's internal voice. It's an excellent way to convey the dark night of the soul, the anger and hurt of betrayal...from one side. It takes a bit of work to contextualize the non-standard layout. It is worth the effort, in my never-humble opinion, but be prepared for it.

I recommend this latest salvo from Vigdis Hjorth's seemingly bottomless well of personal fiction to you, all the daughters and all the mothers and all the siblings whose home lives weren't always the happy-clappy-sappy greeting-card kind. Accept Vigdis Hjorth's gift of seeing yourself in her mixed, complicated feelings in this storyverse.

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EARTHLINGS
SAYAKA MURATA (tr. Ginny Tapley Takemori)
Grove Press
$17.00 trade paper, available now

Rating: 4* of five

The Publisher Says: From the beloved author of cult sensation Convenience Store Woman, which has now sold more than a million copies worldwide, comes a spellbinding and otherworldly novel about a young girl who believes she is an alien

As a child, Natsuki doesn’t fit into her family. Her parents favor her sister, and her best friend is a plush toy hedgehog named Piyyut who has explained to her that he has come from the planet Popinpobopia on a special quest to help her save the Earth. Each summer, Natsuki counts down the days until her family drives into the mountains of Nagano to visit her grandparents in their wooden house in the forest, a place that couldn’t be more different from her grey commuter town. One summer, her cousin Yuu confides to Natsuki that he is an extraterrestrial and that every night he searches the sky for the spaceship that might take him back to his home planet. Natsuki wonders if she might be an alien too.

Back in her city home, Natsuki is scolded or ignored and even preyed upon by a young teacher at her cram school. As she grows up in a hostile, violent world, she consoles herself with memories of her time with Yuu and discovers a surprisingly potent inner power. Natsuki seems forced to fit into a society she deems a “baby factory” but even as a married woman she wonders if there is more to this world than the mundane reality everyone else seems to accept. The answers are out there, and Natsuki has the power to find them.

Dreamlike, sometimes shocking, and always strange and wonderful, Earthlings asks what it means to be happy in a stifling world, and cements Sayaka Murata’s status as a master chronicler of the outsider experience and our own uncanny universe.

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

My Review: If you go read my 2019 review of Convenience Store Woman, you will probably wonder why I asked for this DRC. I was impressed by Author Murata's very pointed prose and her determined, dogged almost, pursuit of delineating characters who violate every.single.standard. of maleness and femaleness in Japanese society. I think of that as the most successful part of both Murata's earlier, and this, novel.

"I must use my magical powers to stay alive," she thinks, "I must become empty. I must obey."

–and–

Grown ups had it tough, too, I thought. Miss Shinozuka functioned well enough as one of society’s tools, but maybe wasn’t functioning properly as one of society’s reproductive organs.

She was in the position of educating me and ruled over me, but at the same time she herself was also being judged as a tool of society.

This time, a female character isn't simply alienated, unable to find Woman inside herself. This time, Natsuki is actually a vessel for an alien. (Or so she's decided after her cousin Yuu tells her he's from another planet...in playful terms that she does not get.) She then decides that her role is as an emissary from that planet, and reports to her handler via Piyyut, one of her stuffed toys. It's another level of weird, y'all. It's disturbing, it's startling, it's just damned strange.

I hadn’t told my family, but I was a magician, a real one with actual magical powers. I’d met Piyyut in the supermarket by the station when I was six and had just started elementary school. He was right on the edge of the soft toy display and looked as though he was about to be thrown out. I bought him with the money I’d received at New Year’s. Piyyut was the one who’d given me my magical objects and powers. He was from Planet Popinpobopia. The Magic Police had found out that Earth was facing a crisis and had sent him on a mission to save our planet. Since then I’d been using the powers he’d given me to protect the Earth.

–and–

I hugged my backpack to me. Inside it was my origami magic wand and my magical transformation mirror. At the very top of the backpack was my best friend, Piyyut, who gave me these magical objects. Piyyut can’t speak human since the evil forces put a spell on him, but he’s looking after me so I won’t get carsick.

So of course, this is where I buy in and get ready for the ride. Translator Tapley Takemori is gonna let off the verbal incediaries!

Love is a drug made in the brain to enable humans to mate. It’s simply an anesthetic. In other words, it’s an illusion made to prettify the painful mating act, to reduce the suffering and disgust of the sexual act. We might be able to use this anesthetic if we’re ever in pain. But for now I don’t think it’s necessary.

–and–

The Baby Factory produces humans connected by flesh and blood… Once shipped out, male and female humans are trained how to take food back to their own nests. They become society’s tools, receive money from other humans and purchase food. Eventually these young humans aso form breeding pairs, coop themselves up in new nests, and manufacture more babies.

The fact is I don't entirely disagree with Natsuki...society, as presently constituted, is a Baby Factory. She lives through a dreadful, abusive childhood and the blighting horror of an unloving mother. She still manages to make herself get married to a man, a boring, ordinary man, whose mother is clear-sighted and indifferent to her husband, a loutish and judgmental lump we'd call a redneck in the US.

"Look, Tomoya. Do it a lot and make a family, then once the relationship has cooled, you play around outside of marriage. That's the way it is for lots of couples, isn't it? Playing around is a man's reward. Your father has had his fair share, haven't you dear?"

–and–

"I hate people who insist on their rights while neglecting their duty."

Tomoya, their son, is what these days we'd identify as a demisexual. Here in the US he'd find increasing support for that variant identity. Not in Japan. Tomoya and Natsuki find each other on an anti-dating site and enter into a consensually sexless marriage. At least, if they're married, they reason the families will finally stop making their lives hell about it. Of course, then comes baby talk. Predictable, no? Well...that is how Author Murata rolls. She does the expected, the predictable, and lards it into the weird and the uncomfortable. At the end of the story, things have happened to Natsuki and things have passed her by; it's really not obvious to me that her world is not, in fact, reality seen from an unexpected angle. Some of the most uncomfortable scenes and subplots...can one have subplots in this kind of narrative, digressive and discursive but more or less chronological?...are clear and honest bashings of the patriarchal society we have allowed to rule over us for far too long. There is violence and there is horror, but it is nothing you haven't read before and is probably more powerful for that. Because, in this story, those sharp blades of rage are all rising from a garlic-flavored custard, a durian-marmalade slathered slice of toast, a radish you find inside your cupcake.

What a way to spend a day. Immersed in a soup of very, very maladjusted people. People whose full strangeness isn't even dented by what I've said so far, what I've quoted. There are some shocks to your system headed your way when you choose to read a Sayaka Murata novel, that's part of the reason one does it. This time, I give the read more stars than Convenience Store Woman because Natsuki's struggles with overcoming her deeply unhappy childhood and her maladaptive attempts to "fit in" are so reminiscent of Vigdis Hjorth's Johanna in the review above. They aren't in any cosmetic or surface way alike...Johanna's mental illness is from a similar source but is NOT dealt with internally through the fantastical inventions of Natsuki...but these women, betrayed by those whose job it was to protect them and abused for daring to try to be their authentic selves, deal with it all internally. Outward signs aren't visible to the people who don't look at them properly. We, the readers, are privy to things we want to believe would make a happier outcome for these women.

But I will bet you money that, given access to our point of view, no one in these two women's ambit would change their damaging behavior in any significant way. Nor would the women themselves. Ultimately that led what was for reader-me an almost-five-star review to drop to a solid four stars of five. I wasn't put off by Author Murata's weirdness. It was the helpless and hopeless ethos of the story that, in the end, dimmed the anarchic luster of the prose.

Tragedies are so much more interesting than comedies, no?

LITTLE EVE, US edition of the 2018 Shirley Jackson Award-winner for Best Novel & BLOOD MOON PROPHECY, debut YA fantasy

LITTLE EVE
CATRIONA WARD
Tor Nightfire
$27.99 hardcover, available now

Rating: 4* of five

The Publisher Says: From Catriona Ward, author of The Last House on Needless Street, comes the Shirley Jackson Award-winning novel Little Eve, a heart-pounding tale of faith and family, with a devastating twist

STARRED reviews from Publishers Weekly and Booklist! A LibraryReads Hall of Fame Pick! Winner of the (2018) Shirley Jackson Award for Best Novel!

“A great day is upon us. He is coming. The world will be washed away.”

On the wind-battered isle of Altnaharra, off the wildest coast of Scotland, a clan prepares to bring about the end of the world and its imminent rebirth.

The Adder is coming and one of their number will inherit its powers. They all want the honor, but young Eve is willing to do anything for the distinction.

A reckoning beyond Eve’s imagination begins when Chief Inspector Black arrives to investigate a brutal murder and their sacred ceremony goes terribly wrong.

And soon all the secrets of Altnaharra will be uncovered.

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

My Review: The #Spooktober reading this year has made me feel quite gruntled. That said, however, I'm glad I read Sundial first among Author Catriona's work...the domestic-horror vibe, added to the all human all the time cast of horror-bringers, made me feel comfortable with her voice. I had no additional hill to climb to get past the cosmic-horror tropes I wouldn't necessarily choose to read.

But psych the cosmic-horror tropes I was expecting, given that this is a story about a cult whose organizing principle is the end of the world, "cleansed" by sea-serpent, were absent. Instead this was an historical fiction with seriously gothic overtones, set at the end of World War One and containing the usual gothic elements. It wasn't a *bad* surprise. It was, however, definitely a surprise.

Author Catriona received the Shirley Jackson Award for Best Novel in 2018 for this story. I think that's one helluva great accolade to get for one's second published novel. That we in the US are getting it only now suggests someone fell asleep at the switch back in 2018. I can't say I felt this was a perfect novel, it relied a wee bit too heavily on ghastly punishments for its unsettling-bordering-on-scary stuff and its cult aspects felt worn out pretty quickly. What I found to enjoy was Author Catriona's word-sorcery:

My heart is a dark passage, lined with ranks of gleaming jars. In each one something floats. The past, preserved as if in spirit. Here is the scent of grass and the sea, here the creak of wheels on a rough path, here a bright yellow gull’s beak. The sensation of blood drying on my cheek in the wind. Abel crying for his mother, Uncle’s hand on me. Silver on a white collarbone. The knowledge of loss, which comes like a blow to the heart or the stomach. It does not reach your mind until later.

The opening of the book...we know the Dark Sorceress Catriona has rattled her bone-bag of words and will be casting irresistible spells soon. And she does.

Just not the ones I expected.

The manner of unfolding the story was intriguing. The setting was wonderfully gothic. The characters weren't as fully realized as the ones in Sundial were, but that is entirely understandable and was not unexpected...a second book isn't going to have the same polish as a fourth one does. At least, if the writer is developing authorial chops, it won't; and she most definitely is a writer developing fast and well. What that meant to me, as I read along, was that I could see details that were not the ones I think Author Catriona would emphasize now (eg, some of Delilah's behaviors, and Uncle's almost mustachio-twirling one-note-ness). I will say that this is why I landed on the four-star key instead of a fraction higher. The four stars are, however, fully merited based solely on the plot's cohesiveness and its appropriately increasing pace. A headlong rush would not have served this story the way it did Rob's story in Sundial.

While the ending is, I've tried to think of a different word but no other one fits, condign, it isn't necessarily the one you-the-horror-reader are thinking it will be. That, above all things, was the reason I recommend this story to my horror-reading friends: It's good not to know.

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BLOOD MOON PROPHECY
DILANI KAHAWALA (Legend of the Nyx #1)
Cedar Street Press
$9.99 Kindle edition, available now

Rating: 3.75* of five

The Publisher Says: Eleven years ago, Tilly Nyx did something she wasn’t supposed to. As a result, her mother was killed. Her village was destroyed. Her sister disappeared. And an ancient horror sent her into hiding.

Now sixteen years old, Tilly is determined to go home, even though she doesn’t know where home is or how to get there. All she has is the map that her mother made her swear to protect with her life.

Tilly soon finds herself plunged into the world where it all began—a world of oceans, sailing ships, and feuds between ancient magical families. She joins a fleet in search of the secret that her map holds, the secret that has been guarded by her family for thousands of years.

As Tilly learns how to cast sprites and make potions, she and her three friends must follow the trail of murky clues left by her ancestors before time runs out. But the closer they get to their destination, the more Tilly learns about her true identity–and everything is not as it seems.

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

My Review: Young-adult fantasy with cosmic horror overtones isn't my go-to genre reading. This debut novel got in under my radar because I liked the cover and the storytelling voice lulled my concerns about the subject matter.

Because most of the story is told in short chapters heavy on description, I wasn't asked to "listen" to a chosen-one teenaged girl. That was a huge plus to me. I still came away from the read wanting to swat this bratty child for being so completely and unwarrantedly willing to be guided only by her own thoughts and feelings. She never consulted anyone with more information than she possessed, she never changed her mind until her stubborn skull got thumped and hard...she is, in short, a typical smart teen. That made me nutso!

The reason I finished the read was that I liked the found-family aspect, I found the author's descriptions and world-building were very well done, and the cover art. Oh my heck. I am such a fool for a gorgeous cover. This one really fits the story being told...you'll see why. So much of the story's action is sea-borne that I mention it as a possible deal-maker or -breaker, depending on whom the read is destined for; the ships aren't, for once, the relation- type but the wooden type. The author's grasp of sailing is probably superficial but, as mine is too, I found nothing eye-rolling in her depiction of life aboard them. The sailing themes served as handy reasons to bring characters together but only briefly...as that is a deeply rooted feature of chosen-one quests, that worked very well.

Mei, James, and Nav, Tilly's scooby-group, are all standard characters. The vibe one gets from the read is very much Harry Potter and those Mortal Instruments books; the side characters, though very much side characters, are more than furnishings for the heroine's story. That dubious honor goes to the immense cast of secondary characters, seemingly dozens of them, all serving one and only one purpose. These are features of YA fantasy stories, I hasten to add, not bugs. The author is quite clear about her purpose for each one of the secondary characters. When the occasional one pops back up in a later chapter I felt quite surprised.

If you're looking for something to please your classical-magic loving tween/early-teen niece/cousin/grandchild, this introductory volume in what I expect to be a successful series will earn you early-adopter points. This is an author to watch...her journey, beginning here, can go to much greater heights.

THE CAMILLA STEN PAGE: THE LOST VILLAGE, a folk-horror Swedish thriller in translation & THE RESTING PLACE, atmospheric domestic thriller

THE LOST VILLAGE
CAMILLA STEN (tr. Alexandra Fleming)
Minotaur Books
$17.99 trade paper, available now

Rating: 4* of five

A 2021 NPR BEST BOOK OF THE YEAR!

The Publisher Says: The Blair Witch Project meets Midsommar in this brilliantly disturbing thriller from Camilla Sten, an electrifying new voice in suspense.

Documentary filmmaker Alice Lindstedt has been obsessed with the vanishing residents of the old mining town, dubbed “The Lost Village,” since she was a little girl. In 1959, her grandmother’s entire family disappeared in this mysterious tragedy, and ever since, the unanswered questions surrounding the only two people who were left—a woman stoned to death in the town center and an abandoned newborn—have plagued her. She’s gathered a small crew of friends in the remote village to make a film about what really happened.

But there will be no turning back.

Not long after they’ve set up camp, mysterious things begin to happen. Equipment is destroyed. People go missing. As doubt breeds fear and their very minds begin to crack, one thing becomes startlingly clear to Alice:

They are not alone.

They’re looking for the truth...
But what if it finds them first?

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

My Review: Author Sten is a Force. Her storytelling chops, in this her debut novel!, are truly impressive. Usually split timelines, here denoted by labeling chapters "Now" and "Then", give me pause. It so seldom adds impetus to the natural pace of the story. In Author Sten's case she overcame this. By itself that merits praise...but to use it, as here, in setting a perceptual "trap" for her readers, is extraordinarily tough to pull off.

The framing device that threatened, at first, to derail my enjoyment of the story was also the biggest surprise to me: A long stretch of "Now" spent reading letters discovered in the Lost Village. While that by itself isn't bad, so very often it is a deus ex machina and so feels like a cheat to me. I re-read parts of the section to see if I could find the seams but I couldn't...I kept running across images I lingered over (eg doubts creeping up on a character like "stinging little devils") and action I wanted to follow right now. That's good horror writing...good writing, period.

Much of the seemingly inevitable comparison-to-known-things marketing has borne down hard on Midsommar, a stunningly beautiful folk-horror film whose story is stretched to the point of snapping in order to make its beautiful scenes...seriously, go look at it, the stills should be sold as art!...work. Also harked back to is The Blair Witch Project, whose shakycam found-footage horror story was, to put it mildly, a farrago but whose fascinating editing (predictable and pedestrian aren't necessarily ineffective in horror storytelling) has deeply influenced the entire field of visual horror storytelling. This comparison is, to me, fair and reasonable; the Midsommar one is a stretch and honestly a disservice to the story here told.

This is folk horror as only a Swede setting her story in Sweden would, possibly could, produce. But it's much, much more unnerving to me, more frightening, than Midsommar because this story is about the intersection of mental illness and religious fanaticism that is its own form of mental illness...but grounded in a solid, meaningful, and thoughtful take-down of capitalism and patriarchy.

We perceive women suffering from mental illness with a sort of paradoxical double-sidedness; both victims and monsters, simultaneously infantilized and feared. A certain level of dysfunction is accepted—after all, women who are suffering mild depression and starving themselves aren’t going to leave their husbands or start revolutions, which is very practical indeed.
–and–
We view a depressed upper-class woman from a stable family background dealing with depression as “having the blues,” while the homeless woman on the street corner battling auditory hallucinations is a thing to be feared, a threatening monster. Not a person in need of help. Not someone with thoughts, dreams, fears, and needs of their own. Not a fully formed human being with agency and identity, suffering from an illness and doing their best to function as well as they can.

Author Sten is singin' my song; Translator Fleming is wrapping it in stylish English.

Several friends of mine who read and reviewed the book, all of them women, weren't impressed with the author's feminist take as presented, and to a woman they were dismissive of the "folk horror" trappings the US publisher wrapped around the story. In that latter I hesitantly join them, but as a man I felt the feminist, or more accurately anti-patriarchal, views the author quite clearly espouses by way of contrast to the "Then" action and more clearly espouses in the "Now" if via a dark means, rang me like a bell.

Permaybehaps I'm settling, in the sense that it might not be as clear to the women because it's not enough of a feminist standpoint. I can't say; I can say that, to me, this read bound together creepy, scary real-life threats and challenges with a social and political slant I am in sympathy with. You should give Author Camilla Sten a shot, see what you think.

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THE RESTING PLACE
CAMILLA STEN (tr. Alexandra Fleming)
Minotaur Books
$17.99 trade paper, available now

Rating: 4* of five

The Publisher Says: A spine-chilling, propulsive psychological suspense from international sensation Camilla Sten.

The medical term is prosopagnosia. The average person calls it face blindness—the inability to recognize a familiar person’s face, even the faces of those closest to you.

When Eleanor walked in on the scene of her capriciously cruel grandmother, Vivianne’s, murder, she came face to face with the killer—a maddening expression that means nothing to someone like her. With each passing day, her anxiety mounts. The dark feelings of having brushed by a killer, yet not know who could do this—or if they’d be back—overtakes both her dreams and her waking moments, thwarting her perception of reality.

Then a lawyer calls. Vivianne has left her a house—a looming estate tucked away in the Swedish woods. The place her grandfather died, suddenly. A place that has housed a dark past for over fifty years.

Eleanor. Her steadfast boyfriend, Sebastian. Her reckless aunt, Veronika. The lawyer. All will go to this house of secrets, looking for answers. But as they get closer to bringing the truth to light, they’ll wish they had never come to disturb what rests there.

A heart-thumping, relentless thriller that will shake you to your core, The Resting Place is an unforgettable novel of horror and suspense.

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

My Review: I've known someone with prosopagnosia well, and for a lot longer than I have known the word or the condition existed. It's one of the reasons I was really eager to get this book's DRC and devour it. I was so happy to see this under-represented and misunderstood disability represented at all. I hoped, of course, to see it represented well.

It was. The condition of "face-blindness" was truly well established, in a complex and multivalent way; it was also chillingly effectively woven into a deeply unsettling, even unnerving, plot.

Prosopagnosia, face blindness. It means my brain doesn’t process human faces the same way others’ do. I can’t recognize faces, so have to memorize distinguishing features instead.

What happens, as you've seen in the book description, is a scene of brutal violence that simply can't be forgotten by anyone who's experienced anything remotely close to it. But, in Eleanor's case, it's a scene that lacks a very important resonance. She's seen a murder, and a murderer, and she can't forget it but can't process it, can't help assign guilt to the guilty because she is biomechanically incapable of the necessary function. And then what happens? She inherits the house her grandmother failed to tell her that she owned. Way to lard the stress into the liver of the story...another set of unknown people, faces ever unknown to her and markers to somehow fasten onto their identities.

From that point on, I was so very sold on this read. I could not WAIT to see how this awful psychological double bind would resolve.

The things I liked were, like the things I liked in The Lost Village, the ones that brought the character to life:

...it’s the body that panics first, the brain that follows. If I can just keep my breaths slow and force myself to relax then I can trick my mind into calm.
–and–
“Your fear is valid, but that doesn’t make it real. The fear may be true, but it doesn’t have to be your truth.”

They're present, they're satisfyingly numerous, but in the end the thing that will make or break the read is one's response to the ending. The entire book is a set-up to the set-piece in the last, say, thirtyish pages. It's a big ask from a sophmore novelist. I was rewarded by it because its resolution was so very timely and so personal to me. I can't say more because the Spoiler Stasi will descend on me with malice and fury. This post will clue you in to the direction we're heading if you care to be enlightened.

I thought the use of a big, old, dark manor house in the country was going to be a silly distraction, a gewgaw meant to distract me from something...it wasn't, and it was; the big winter storm, another gothic-storytelling staple, was similarly used. These weren't my favorite moments in the book. I will say they didn't "ruin" my experience of the story as can happen with such inessentials. The nature of the story is so basically well-crafted that Author Sten could've chosen any one of an array of settings and accomplished her task.

I confess that, as I read along and Eleanor kept doing her Eleanor thing, I was half-dreading the need to slap an "ableism" content warning on the review. I was so relieved that I did not feel Author Sten had crossed my own mental threshhold for use of a disability shading into the old, dark "crippled" territory I've still been hit with in the twenty-first century.

I'm going to leave the last words to Eleanor, via Author Sten. I think they say more about what I derived from this read than I can.

She says that wounds can leave scars on our souls just like on our bodies, and that we have to learn to live with them rather than try to rid ourselves of them completely.