Tuesday, May 27, 2025

The Amalfi Curse

The Amalfi Curse by Sarah Penner
Title:
  The Amalfi Curse
Author:  Sarah Penner
Publication Information:  Harlequin Trade Publishing / Park Row. 2025. 336 pages.
ISBN:  0778308006 / 978-0778308003

Rating:   ★★★

Book Source:  I received this book through NetGalley and the HTP Books Summer 2025 blog tour free of cost in exchange for an honest review.

Opening Sentence:  "Signor Mazza:  We have not formerly made each other's acquaintance, yet I pray you will take very seriously what I have to say."

Favorite Quote:  "All we're promised is now."

***** BLOG TOUR *****


Review

The beautiful Amalfi coast overlooks overlooking the Tyrrhenian Sea and the Gulf of Salerno. The village of Positano climbs the hills above grottos, caves, and sea that lies below. The entire coastline has been deemed a UNESCO World Heritage Site. Thousands, if not millions, of tourists flock there every year for its beautiful setting, its history, and its Mediterranean climate.

This story acknowledges that natural beauty but then goes beyond that to what lies beneath the surface of the water and the secrets the hills hold. "If people can't explain something logically, they'll resort to legends. The supernatural. Magic. Gods."

 This two time period story brings to light the secrets of Positano and the waters that surround it. Witches, pirates, scoundrels, historians, and treasure hunters are all to be found in the story. 

In 1821, Mari is a streghe del mare, a sea witch, descended from a line of witches dating back centuries. In Italian mythology, these witches are connected to the sea, with spells and incantations allowing them to alter the currents, the water, and the storms. In the story, Mari is a reluctant witch as, to her knowledge, the sea has robbed her of those she loves. Yet, she leads her group of witches, continuing to maneuver the water to protect her village and its inhabitants.

In present day, Haven comes to Positano on a sponsored project to study and map shipwrecks in the area. However, she has another, more hidden purpose.

The book tells both stories, weaving back and forth. Haven's research brings the reader closer and closer to the conclusion of Mari's story. 

Often in dual timeline stories, one timeline is the more compelling story. In this case, it is Mari's. Mari's is the story of mothers and daughters and a sisterhood. Mari's is the story of witchcraft and powers, wanted or unwanted. Mari's is the story of pirates. Mari's is the love story told through letters and journals. Mari's is the story with the unexpected (at least to me) twist.

Haven's story has a premise that is compelling - a dying father's wish and a daughter's quest. However, certain elements of Haven's story - like the romance - come together to conveniently. Finally, what ultimately ties Haven's story to Mari's seems contrived and inconsistent with the code followed by Mari and her sisterhood.

The characters in Mari's story become more real than Haven and keep me reading until the ending. Nevertheless, the story overall remains engaging, and I look forward to more from the author.

About the Book 

A nautical archaeologist searching for sunken treasure in Positano unearths a centuries-old curse, powerful witchcraft, and perilous love on the high seas in this spellbinding new novel from the New York Times bestselling author of The Lost Apothecary—perfect for fans of The Familiar and The Cloisters.

Haven Ambrose, a trailblazing nautical archaeologist, has come to the sun-soaked village of Positano to investigate the mysterious shipwrecks along the Amalfi Coast. But Haven is hoping to find more than old artifacts beneath the azure waters; she is secretly on a quest to locate a trove of priceless gemstones her late father spotted on his final dive. Upon Haven’s arrival, strange maelstroms and misfortunes start plaguing the town. Is it nature, or something more sinister at work?

In 1821, Mari DeLuca and the women of her village practice the legendary art of stregheria, a magical ability to harness the power of the ocean. As their leader, Mari protects Positano with her witchcraft, but she has been plotting to run away with her lover, Holmes – a sailor aboard a merchant ship owned by the nefarious Mazza brothers, known for their greed and brutality. When the Mazzas learn about the women of Positano, they devise a plan to kidnap several of Mari’s friends. With her fellow witches and her village in danger – and Holmes’s life threatened by his connection to the most feared woman in Positano – Mari is forced to choose between the safety of her people and the man she loves.

As Haven searches for her father’s sunken treasure, she begins to unearth a tale of perilous love and powerful sorcery. Can she unravel the Amalfi Curse before the region is destroyed forever? Against the dazzling backdrop of the Amalfi Coast, this bewitching novel shimmers with mystery, romance, and the untamed magic of the sea.

About the Author

Sarah Penner is the New York Times and internationally bestselling author of The London Seance Society and The Lost Apothecary, which will be translated into forty languages worldwide and is set to be turned into a drama series by Fox. Sarah spent thirteen years in corporate finance and now writes full-time. She and her husband live in Florida. To learn more, visit SarahPenner.com.

Excerpt

Excerpted from THE AMALFI CURSE by Sarah Penner. Copyright © 2025 by Sarah Penner. Published by Park Row, an imprint of HarperCollins.

1
MARI

Wednesday, April 11, 1821

Along a dark seashore beneath the cliffside village of Positano, twelve women, aged six to forty-four, were seated in a circle. It was two o’clock in the morning, the waxing moon directly overhead.

One of the women stood, breaking the circle. Her hair was the color of vermilion, as it had been since birth. Fully clothed, she walked waist-high into the water. A belemnite fossil clutched between her fingers, she plunged her hands beneath the waves and began to move her lips, reciting the first part of the incantesimo di riflusso she’d learned as a child. Within moments, the undercurrent she’d conjured began to swirl at her ankles, tugging southward, away from her.

She shuffled her way out of the water and back onto the shore.

A second woman with lighter hair, the color of persimmon, stood from the circle. She, too, approached the ocean and plunged her hands beneath the surface. She recited her silent spell on the sea, satisfied as the undercurrent grew even stronger. She gazed out at the horizon, a steady black line where the sky met the sea, and smiled.

Like the other villagers along the coast tonight, these women knew what was coming: a fleet of pirate ships making their way northeast from Tunis. Winds were favorable, their sources said, and the flotilla was expected within the next day.

Their destination? Perhaps Capri, Sorrento, Majori. Some thought maybe even Positano—maybe, finally, Positano.

Given this, fishermen all along the Amalfi coastline had decided to remain at home with their families tomorrow and into the night. It wouldn’t be safe on the water. The destination of these pirates was unknown, and what they sought was a mystery, as well. Greedy pirates went for all kinds of loot. Hungry pirates went for nets full of fish. Lustful pirates went for the women.

On the seashore, a third and final woman stood from the circle. Her hair was the rich, deep hue of blood. Quickly, she undressed. She didn’t like the feeling of wet fabric against her skin, and these women had seen her naked a thousand times before.

Belemnite fossil in one hand, she held the end of a rope in her other, which was tied to a heavy anchor in the sand a short distance away. She would be the one to recite the final piece of this current-curse. Her recitation was the most important, the most potent, and after it was done, the ebbing undercurrent would be even more severe—hence the rope, which she would wrap tightly around herself before finishing the spell.

It was perilous, sinister work. Still, of the twelve women by the water tonight, twenty-year-old Mari DeLuca was the most befitting for this final task.

They were streghe del mare—sea witches—with unparalleled power over the ocean. They boasted a magic found nowhere else in the world, a result of their lineage, having descended from the sirens who once inhabited the tiny Li Galli islets nearby.

The women knew that tomorrow, wherever the pirates landed, it would not be Positano. The men would not seize their goods, their food, their daughters. No matter how the pirate ships rigged their sails, they would not find easy passageway against the undercurrent the women now drew upward from the bottom of the sea. They would turn east, or west. They would go elsewhere.

They always did.

While the lineage of the other eleven women was twisted and tangled, filled with sons or muddled by marriage, Mari DeLuca’s line of descent was perfectly intact: her mother had been a strega, and her mother’s mother, and so on and so on, tracing back thousands of years to the sirens themselves. Of the women on the seashore tonight, Mari was the only strega finisima.

This placed upon her shoulders many great responsibilities. She could instinctively read the water better than any of them. Her spells were the most effective, too; she alone could do what required two or three other streghe working in unison. As such, she was the sanctioned leader of the eleven other women. The forewoman, the teacher, the decision-maker.

Oh, but what a shame she hated the sea as much as she did.

Stepping toward the water, Mari unraveled her long plait of hair. It was her most striking feature—such blood-colored hair was almost unheard of in Italy, much less in the tiny fishing village of Positano—but then, much of what Mari had inherited was unusual. She tensed as the cold waves rushed over her feet. My mother should be the one doing this, she thought bitterly. It was a resentment she’d never released, not in twelve years, since the night when eight-year-old Mari had watched the sea claim her mother, Imelda, as its own.

On that terrible night, newly motherless and reeling, Mari knew the sea was no longer her friend. But worse than this, she worried for her younger sister, Sofia. How would Mari break this news to her? How could she possibly look after spirited Sofia with as much patience and warmth as their mamma had once done?

She’d hardly had time to grieve. The next day, the other streghe had swiftly appointed young Mari as the new strega finisima. Her mother had taught her well, after all, and she was, by birthright, capable of more than any of them. No one seemed to care that young Mari was so tender and heartbroken or that she now despised the very thing she had such control over.

But most children lose their mothers at some point, don’t they? And sprightly Sofia had been reason enough to forge on—a salve to Mari’s aching heart. Sofia had kept her steady, disciplined. Even cheerful, much of the time. So long as Sofia was beside her, Mari would shoulder the responsibilities that had been placed upon her, willingly or not.

Now, toes in the water, a pang of anguish struck Mari, as it often did at times like this.

Neither Mamma nor Sofia was beside her tonight. Mari let out a slow exhale. This moment was an important one, worth remembering. It was the end of two years’ worth of agonizing indecision. No one else on the seashore knew it, but this spell, this incantation she was about to recite, would be her very last. She was leaving in only a few weeks’ time, breaking free. And the place she was going was mercifully far from the sea.

Eyes down, Mari slipped her naked body beneath the water, cursing the sting of it as it seeped into a small rash on her ankle. At once, the water around her turned from dark blue to a thick inky black, like vinegar. Mari had dealt with this all her life: the sea mirrored her mood, her temperament.

As a child, she’d found it marvelous, the way the ocean read her hidden thoughts so well. Countless times, her friends had expressed envy of the phenomenon. But now, the black water shuddering around her legs only betrayed the secrets Mari meant to keep, and she was glad for the darkness, so better to hide her feelings from those on the shore.

Halfway into the water, already she could feel the changes in the sea: the two women before her had done very well with their spells. This was encouraging, at least. A few sharp rocks, churned by the undercurrent, scraped across the top of her feet like thorns, and it took great focus to remain in place against the undertow pulling her out. She used her arms to keep herself balanced, as a tired bird might flap its wings on an unsteady branch.

She wrapped the rope twice around her forearm. Once it was secure, she began to recite the spell. With each word, tira and obbedisci—pull and obey—the rope tightened against her skin. The undercurrent was intensifying quickly, and with even more potency than she expected. She winced when the rope broke her skin, the fresh wound exposed instantly to the bite of the salt water. She began to stumble, losing her balance, and she finished the incantation as quickly as possible, lest the rope leave her arm mangled.

She wouldn’t miss nights like this, not at all.

When she was done, Mari waved, signaling to the other women that it was time to pull her in. Instantly she felt a tug on the other end of the rope. A few seconds later, she was in shallow, gentle water. On her hands and knees, she crawled the rest of the way. Safely on shore, she lay down to rest, sand and grit sticking uncomfortably to her wet skin. She would need to wash well later.

Terribly time-consuming, all of this.

A sudden shout caught her attention, and Mari sat up, peering around in the darkness. Her closest friend, Ami, was now knee-deep in the water, struggling to keep her balance.

“Lia!” Ami shouted hysterically. “Lia, where are you?”

Lia was Ami’s six-year-old daughter, a strega-in-training, her hair a delicate, rosy red. Not moments ago, she’d been situated among the circle of women, her spindly legs tucked up against her chest, watching the spells unfold.

Mari threw herself upward, tripping as she lunged toward the ocean.

“No, please, no,” she cried out. If Lia was indeed in the water, it would be impossible for the young girl to make her way back to shore. She was smaller than other girls her age, her bones fragile as seashells, and though she could swim, she’d have nothing against the power of these tides. The very purpose of the incantation had been to drive the currents toward the deep, dark sea, with enough strength to stave off a pirate ship.

Lia wasn’t wearing a cimaruta, either, which gave the women great strength and vigor in moments of distress. She was too young: streghe didn’t get their talisman necklaces until they were fifteen, when their witchcraft had matured and they were deemed proficient in the art.

At once, every woman on the shore was at the ocean’s edge, peering at the water’s choppy surface. The women might have been powerful, yes, but they were not immortal: as Mari knew all too well, they could succumb to drowning just like anyone else.

Mari spun in a circle, scanning the shore. Suddenly her belly tightened, and she bent forward, her vision going dark and bile rising in the back of her throat.

This was too familiar—her spinning in circles, scanning the horizon in search of someone.

Seeing nothing.

Then seeing the worst.

Like her younger sister’s copper-colored hair, splayed out around the shoulders of her limp body as she lay facedown in the rolling swells of the sea.

Mari had been helpless, unable to protect fourteen-year-old Sofia from whatever she’d encountered beneath the waves that day, only two years ago. Mari had spent years trying to protect her sister as their mother could not, yet in the end, she had failed. She’d failed Sofia.

That day, the sea had once again proved itself not only greedy but villainous—something to be loathed.

Something, Mari eventually decided, from which to escape.

Now, Mari fell to her knees, too dizzy to stand. It was as though her body had been hauled back in time to that ill-fated morning. She bent forward, body heaving, about to be sick—

Suddenly, she heard a giggle, high-pitched and playful. It sounded just like Sofia, and for a moment, Mari thought she’d slipped into a dream.

“I am here, Mamma,” came Lia’s voice from a short distance away. “I am digging in the sand for baby gran—” She cut off. “I forget the word.”

Ami let out a cry, relief and irritation both. She ran toward her child, clutched her to her breast. “Granchio,” she said. “And don’t you ever scare me like that again.”

Mari sat up, overwhelmed by relief. She didn’t have children, was not even married, but Lia sometimes felt like her own.

She steadied her breath. Lia is fine, she said silently to herself. She is perfectly well, on land, right here in front of all of us. Yet even as her breath slowed, she could not resist glancing once more behind her, scanning the wave tops.


The women who’d performed the spell changed into dry clothes.

Lia pulled away from Ami’s embrace, sneaking toward Mari, who welcomed her with a warm, strong hug. Mari bent over to kiss the girl’s head, breathing in her fragrance of oranges, sugar, and sweat.

Lia turned her narrow face to Mari, her lips in a frown. “The spell will protect us from the pirates forever?”

Mari smiled. If only it worked that way. She thought of the pirate ship approaching the peninsula tonight. If it did indeed make for Positano, she imagined the captain cursing under his breath. Damn these currents, he might say. I’ve had my eye on Positano. What is it with that village? He would turn to his first mate and order him to alter the rigging, set an eastward course. Anywhere but this slice of troublesome water, he’d hiss at his crew.

“No,” Mari said now. “Our magia does not work that way.”

She paused, considering what more to tell the girl. Nearly every spell the women recited dissipated in a matter of days, but there was a single spell, the vortice centuriaria, which endured for one hundred years. It could only be recited if a strega removed her protective cimaruta necklace. And the cost of performing such magic was substantial: she had to sacrifice her own life in order for the spell to be effective. As far as Mari knew, no one had performed the spell in hundreds, maybe even thousands, of years.

Such a grim topic wasn’t appropriate now, not with young Lia, so she kept her explanation simple. “Our spells last several days, at the most. No different than what a storm does to the ocean: churns it up, tosses it about. Eventually, though, the sea returns to normal. The sea always prevails.”

How much she hated to admit this. Even the vortice centuriaria, long-lasting as it was, faded eventually. The women could do powerful things with the sea, yes, but they were not masters of it.

“This is why we keep very close to our informants,” Mari went on. “There are people who tell us when pirates, or strange ships, have been spotted offshore. Knowing our spells will only last a few days, we must be diligent. We cannot curse the water too soon nor too late. Our fishermen need good, smooth water for their hauls, so we must only curse the water when we are sure there is a threat.” She smiled, feeling a tad smug. “We are very good at it, Lia.”

Lia traced her finger in the sand, making a big oval. “Mamma tells me I can do anything with the sea when I am older. Anything at all.”

It was an enticing sentiment, this idea that they had complete control over the ocean, but it was false. Their spells were really quite simple and few—there were only seven of them—and they abided by the laws of nature.

“I would like to see one of those big white bears,” Lia went on, “so I will bring an iceberg here, all the way from the Arctic.”

“Sadly,” Mari said, “I fear that is too far. We can push the pirates away because they are not all that far from us. But the Arctic? Well, there are many land masses separating us from your beloved polar bears…”

“I will go to live with other sea witches when I’m older, then,” Lia said. “Witches who live closer to the Arctic.”

“It is only us, dear. There are no other sea witches.” At Lia’s perturbed look, she explained, “We descended from the sirens, who lived on those islands—” she pointed to the horizon, where the Li Galli islets rose out of the water “—and we are the only women in the world who inherited power over the ocean.”

Lia slumped forward, let out a sigh.

“You will still be able to do many things,” Mari encouraged. “Just not everything.”

Like saving the people you love, she mused. Even to this day, the loss of little Sofia felt so senseless, so unneeded. The sisters had been in only a few feet of water, doing somersaults and handstands, diving for sea glass. They had passed the afternoon this way a thousand times before. Later, Mari would wonder if Sofia had knocked her head against the ground, or maybe she’d accidentally inhaled a mouthful of water. Whatever happened, Sofia had noiselessly slipped beneath the rippling tide.

She’s playing a trick, Mari thought as the minutes passed. She’s holding her breath and will come up any moment. The girls did this often, making games of guessing where the other might emerge. But Sofia didn’t emerge, not this time. And just a few months shy of fifteen, she hadn’t been wearing a cimaruta.

Lia began to add small lines to the edge of her circle. She was drawing an eye with lashes. “Mamma says you can do more than she can,” she chirped. “That it takes two or three of the streghe to do what you can do by yourself.”

“Yes,” Mari said. “Yes, that’s right.”

“Because of your mamma who died?”

Mari flinched at this, then quickly moved on. “Yes. And my nonna, and her mamma, and so on. All the way back many thousands of years. There is something different in our blood.”

“But not mine.”

“You are special in plenty of ways. Think of the baby needlefish, for instance. You’re always spotting them, even though they’re nearly invisible and they move terribly fast.” \

“They’re easy to spot,” Lia disputed, brows furrowed.

“Not for me. You understand? We are each skilled in our own way.”

Suddenly, Lia turned her face up to Mari. “Still, I hope you do not die, since you have the different, special blood and no one else does.”

Mari recoiled, taken aback by Lia’s comment. It was almost as though the young girl sensed Mari’s covert plans. “Go find your mamma,” she told Lia, who stood at once, ruining her sand art.

After she’d gone, Mari gazed at the hillside rising up behind them. This beach was not their normal place for practicing magic: Mari typically led the women to one of countless nearby caves or grottoes, protected from view, via a pair of small gozzi, seating six to a boat. But tonight had been different—one of the gozzi had come loose from its mooring, and it had drifted out into the open ocean. This had left the women with only one boat, and it wasn’t big enough to hold them all.

“Let’s gather on the beach instead,” she’d urged. “We’ll be out but a few minutes.” Besides, it was the middle of the night, and the moon had been mostly hidden behind clouds, so it was very dark.

While a few of the women looked at her warily, everyone had agreed in the end.

Mari stood and squeezed the water from her hair. It was nearly three o’clock, and all of the women were yawning.

She shoved the wet rope into her bag and dressed quickly, pulling her shift over her protective cimaruta necklace. Hers bore tiny amulets from the sea and coastline: a moon shell, an ammonite fossil, a kernel of gray volcanic pumice. Recently, Mari had found a tiny coral fragment in the perfect shape of a mountain, which she especially liked. Mountains made her think of inland places, which made her think of freedom.

As the women began to make their way up the hillside, Mari felt fingertips brush her arm. “Psst,” Ami whispered. In her hand was a small envelope, folded tightly in half.

Mari’s heart surged. “A letter.”

Ami winked. “It arrived yesterday.”

It had been two weeks since the last one, and as tempted as Mari was to tear open the envelope and read it in the moonlight, she tucked it against her bosom. “Thank you,” she whispered.

Suddenly, Mari caught movement in the corner of her eye, something on the dock a short distance away. At first, she thought she’d imagined it—clouds skirted across the sky, and the night was full of shadows—but then she gasped as a dark form quickly made its way off the dock, around a small building, and out of sight.

Something—someone—had most definitely been over there. A man. A late-night rendezvous, perhaps? Or had he been alone and spying on the women?

Mari turned to tell Ami, but her friend had already gone ahead, a hand protectively on Lia’s back.

As they stepped onto the dirt pathway scattered with carts and closed-up vendor stands, Mari turned around once more to glance at the dock. But there was nothing, no one. The dock lay in darkness.

Just a trick of the moonlight, she told herself.

Besides, she had a very important letter nestled against her chest—one she intended to tear open the moment she got home.

Social Links

Author Website: https://www.sarahpenner.com/
Instagram: https://www.instagram.com/sarah_penner_author/
Facebook: https://www.facebook.com/SarahPennerAuthor

Buy Links

HarperCollins: https://www.harpercollins.com/products/bat-eater-and-other-names-for-cora-zeng-kylie-lee-baker?variant=42432011436066
BookShop.org: https://bookshop.org/a/397/9780778368458
Barnes & Noble: http://aps.harpercollins.com/hc?isbn=9780778368458&retailer=barnesandnoble
Amazon: https://www.amazon.ca/s?k=9781335041791&tag=hcg-02-20


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Wednesday, May 14, 2025

Bat Eater and Other Names for Cora Zeng

Bat Eater and Other Names for Cora Zeng
Title:
  Bat Eater and Other Names for Cora Zeng: A Horror Mystery of a Chinese American Crime Scene Cleaner, Serial Killers and Hungry Ghosts
Author:  Kylie Lee Baker
Publication Information:  MIRA. 2025. 304 pages.
ISBN:  0778368459 / 978-0778368458

Rating:   ★★

Book Source:  I received this book through NetGalley and a publisher's blog tour free of cost in exchange for an honest review.

Opening Sentence:  "East Broadway station bleeds when it rains, water rushing down from cracks in the secret darkness of the ceiling."

Favorite Quote:  "Cora asked once why fear is a sin. Auntie Lois said that it shows distrust in God, that one should not fear men and only fear God."

***** BLOG TOUR *****


Review

This book has one of the most intense beginnings I have read in a long time. Cora and her sister Delilah are waiting for the subway train. All of a sudden, someone (something?) pushes Delilah into the coming train, instantly killing her in a gruesome way that Cora witnesses.

The rest of the book is predicated on this very real trauma. Add to this a setting during the COVID-19 pandemic. Add to that the fact that the main character is of Asian heritage and the ensuing racial prejudice, particularly as news about the origins of the pandemic swirled. Add on top of that the main character's profession as a crime scene cleaner (a profession which I suppose exists but not one that had occurred to me before this book). Surround that with the very real and very imagined ghost, threats, and anxiety that Cora deals with. All of that should be the foundation of a compelling, sympathetic character and a memorable story.

Unfortunately, I find myself lost in the book. Cora does not hold my attention. Too many things - horror genre, racism, prejudice, pandemic, main character who needs help for her trauma, and cultural folklore references embed themselves in gory - but boring at the same time - descriptions. I am not sure where the book is going at any given point, and even by the end, am unsure what the point was.

Perhaps, horror is not a genre I read often and I miss the point. Perhaps, the story starts off with such a visual and intense moment that it cannot recapture that intensity. Perhaps, too many things are included. Perhaps, I do not understand the cultural and folklore reference and, hence, I do not understand the book. In other similar circumstances, I might look up and read references to better understand. Unfortunately, this book does not prompt me down that road. Perhaps, the ending to the mystery of the murders is too anticlimactic. Perhaps, too much of Cora's story is told through her inner musings and not enough shown in a way to engage the reader. Perhaps, the book feels as though it begins to repeat itself.

I do appreciate the light this book sheds on life in the pandemic and the racial hate and prejudice that is sadly still a part of our society. That conversation and the sad reasons it still continues is an important one. However, unfortunately, for many other reasons, I find myself not the reader for this book. 

About the Book

This unsettling adult debut from Kylie Lee Baker follows a biracial crime scene cleaner who’s haunted by both her inner trauma and hungry ghosts as she's entangled in a series of murders in New York City's Chinatown. Parasite meets The Only Good Indians in this sharp novel that explores harsh social edges through the lens of the horror genre.

Cora Zeng is a crime scene cleaner in New York City’s Chinatown, washing away the remains of brutal murders and suicides. But none of that seems so terrible when she’s already witnessed the most horrific thing possible: in the early months of 2020, her sister Delilah was pushed in front of a train as Cora stood next to her. Before fleeing the scene, the murderer whispered two words: bat eater.

So the bloody messes don’t really bother Cora—she’s more bothered by the possible germs on the subway railing, the bare hands of a stranger, the hidden viruses in every corner. And by the strange spots in her eyes and that food keeps going missing in her apartment. Of course, ever since Delilah was killed in front of her, Cora can’t be sure what anxiety is real and what’s in her head. She can barely keep herself together as it is.

She pushes away all feelings, ignoring the bite marks that appear on her coffee table, ignoring the advice of her aunt to burn joss paper and other paper replicas of items to send to the dead and to prepare for the Hungry Ghost Festival, when the gates of hell open. Ignores the dread in her stomach as she and her weird coworkers keep finding bat carcasses at their crime scene cleanups. Ignores the scary fact that all their recent cleanups have been the bodies of Asian women.

But as Cora will soon learn, you can’t just ignore hungry ghosts.

About the Author

Kylie Lee Baker is the Sunday Times bestselling author of The Keeper of Night duology, The Scarlet Alchemist duology, and the forthcoming adult horror Bat Eater. She grew up in Boston and has since lived in Atlanta, Salamanca, and Seoul. Her writing is informed by her heritage (Japanese, Chinese, and Irish), as well as her experiences living abroad as both a student and teacher. She has a BA in creative writing and Spanish from Emory University and a master of library and information science degree from Simmons University.

Excerpt

ONE
April 2020

East Broadway station bleeds when it rains, water rushing down from cracks in the secret darkness of the ceiling. Someone should probably fix that, but it’s the end of the world, and New York has bigger problems than a soggy train station that no one should be inside of anyway. No one takes the subway at the end of the world. No one except Cora and Delilah Zeng.

Delilah wanders too close to the edge of the platform and Cora grabs her arm, tugging her away from the abyss of the tracks that unlatches its jaws, waiting. But Delilah settles safely behind the yellow line and the darkness clenches its teeth.

Outside the wet mouth of the station, New York is empty. The China Virus, as they call it, has cleared the streets. News stations flash through footage of China—bodies in garbage bags, guards and tanks protecting the city lines, sobbing doctors waving their last goodbyes from packed trains, families who just want to fucking live but are trapped in the plague city for the Greater Good.

On the other side of the world, New York is so empty it echoes. You can scream and the ghost of your voice will carry for blocks and blocks. The sound of footsteps lasts forever, the low hum of streetlights a warm undercurrent that was always there, waiting, but no one could hear it until now. Delilah says it’s unnerving, but Cora likes the quiet, likes how much bigger the city feels, likes that the little lights from people’s apartment windows are the only hint of their existence, no one anything more than a bright little square in the sky.

What she doesn’t like is that she can’t find any toilet paper at the end of the world.

Apparently, people do strange things when they’re scared of dying, and one of them is hoarding toilet paper. Cora and Delilah have been out for an hour trying to find some and finally managed to grab a four-pack of one-ply in Chinatown, which is better than nothing but not by much.

They had to walk in the rain because they couldn’t get an Uber. No one wants Chinese girls in their car, and they’re not the kind of Chinese that can afford their own car in a city where it isn’t necessary. But now that they have the precious paper, they’d rather not walk home in the rain and end up with a sodden mess in their arms.

“The train isn’t coming,” Cora says. She feels certain of this. She feels certain about a lot of things she can’t explain, the way some people are certain that God exists. Some thoughts just cross her mind and sink their teeth in. Besides, the screen overhead that’s supposed to tell them when the next train arrives has said DELAYS for the last ten minutes.

“It’s coming,” Delilah says, checking her phone, then tucking it away when droplets from the leaky roof splatter onto the screen. Delilah is also certain about many things, but for different reasons. Delilah chooses the things she wants to believe, while Cora’s thoughts are bear traps snapping closed around her ankles.

Sometimes Cora thinks Delilah is more of a dream than a sister, a camera flash of pretty lights in every color that you can never look at directly. She wraps herself up in pale pink and wispy silk and flower hair clips; she wears different rings on each finger that all have a special meaning; she is Alice in Wonderland who has stumbled out of a rabbit hole and somehow arrived in New York from a world much more kind and lovely than this one.

Cora hugs the toilet paper to her chest and peers into the silent train tunnel. She can’t see even a whisper of light from the other side. The darkness closes in like a wall. The train cannot be coming because trains can’t break through walls.

Or maybe Cora just doesn’t want to go home, because going home with Delilah means remembering that there is a world outside of this leaky station.

There is their dad in China, just a province away from the epicenter of body bags. And there is the man who emptied his garbage over their heads from his window and called them Chinks on the walk here. And there is the big question of What Comes Next? Because another side effect of the end of the world is getting laid off.

Cora used to work the front desk at the Met, which wasn’t exactly what an art history degree was designed for and certainly didn’t justify the debt. But it was relevant enough to her studies that for a few months it stopped shame from creeping in like black mold and coating her lungs in her sleep. But no one needs museums at the end of the world, so no one needs Cora.

Delilah answered emails and scheduled photo shoots for a local fashion magazine that went belly-up as soon as someone whispered the word pandemic, and suddenly there were two art history majors, twenty-four and twenty-six, with work experience in dead industries and New York City rent to pay. Now the money is gone and there are no careers to show for it and the worst part is that they had a chance, they had a Nai Nai who paid for half their tuition because she thought America was for dreams. They didn’t have to wait tables or strip or sell Adderall to pay for college but they somehow messed it up anyway, and Cora thinks that’s worse than having no chance at all. She thinks a lot of other things about herself too, but she lets those thoughts go quickly, snaps her hands away from them like they’re a hot pan that will burn her skin.

Cora thinks this is all Delilah’s fault but won’t say it out loud because that’s another one of her thoughts that no one wants to hear. It’s a little bit her own fault as well, for not having her own dreams. If there was anything Cora actually wanted besides existing comfortably, she would have known what to study in college, wouldn’t have had to chase after Delilah.

But not everyone has dreams. Some people just are, the way that trees and rocks and rivers are just there without a reason, the rest of the world moving around them.

Cora thinks that the water dripping down the wall looks oddly dark, more so than the usual sludge of the city, and maybe it has a reddish tinge, like the city has slit its own wrists and is dying in this empty station. But she knows better than to say this out loud, because everything looks dirty to her, and Cora Zeng thinking something is dirty doesn’t mean the average human agrees—at least, that’s what everyone tells her.

“Maybe I’ll work at a housekeeping company,” Cora says, half to herself and half to the echoing tunnel, but Delilah answers anyway.

“You know that’s a bad idea,” she says.

Cora shrugs. Objectively, she understands that if you scrub yourself raw with steel wool one singular time, no one likes it when you clean anything for the rest of your life. But things still need to be cleaned even if Delilah doesn’t like it, and Cora thinks there are worse things than leaning a little bit into the crazy parts of you. Isn’t that what artists do, after all? Isn’t that the kind of person Delilah likes? The tortured artist types who smoke indoors and paint with their own blood and feces.

“Mama cleaned toilets for rich white people because she had no choice,” Delilah says. “You have a college degree and that’s what you want to do?”

Cora doesn’t answer at first because Mama means Delilah’s mom, so Cora doesn’t see why her thoughts on Cora’s life should matter. Cora doesn’t have a Mama. She has a Mom, a white lady from Wisconsin who probably hired someone else’s mama to clean her toilet.

Cora quite likes cleaning toilets, but this is another thing she knows she shouldn’t say out loud. Instead, she says, “What I want is to make rent this month.”

Legally, Cora’s fairly certain they can’t be evicted during the pandemic, but she doesn’t want to piss off their landlord, the man who sniffs their mail and saves security camera footage of Delilah entering the building. He price-gouges them for a crappy fourth-floor walkup in the East Village with a radiator that vomits a gallon of brown water onto their floor in the winter and a marching band of pipes banging in the walls, but somehow Cora doubts they’ll find anything better without jobs.

Delilah smiles with half her mouth, her gaze distant like Cora is telling her a fairy tale. “I’ve been burning lemongrass for money energy,” Delilah says. “We’ll be fine.” This is another thing Delilah just knows.

Cora hates the smell of lemongrass. The scent coats her throat, wakes her up at night feeling like she’s drowning in oil. But she doesn’t know if the oils are a Chinese thing or just a Delilah thing, and she hates accidentally acting like a white girl around Delilah. Whenever she does, Delilah gives her this look, like she’s remembered who Cora really is, and changes the subject.

“The train is late,” Cora says instead of acknowledging the lemongrass. “I don’t think it’s coming.”

“It’s coming, Cee,” Delilah says.

“I read that they reduced service since no one’s taking the train these days,” Cora says. “What if it doesn’t stop here anymore?”

“It’s coming,” Delilah says. “It’s not like we have a choice except waiting here anyway.”

Cora’s mind flashes with the image of both their skeletons standing at the station, waiting for a train that never comes, while the world crumbles around them. They could walk— they only live in the East Village—but Delilah is made of sugar and her makeup melts off in the rain and her umbrella is too small and she said no, so that’s the end of it. Delilah is not Cora’s boss, she’s not physically intimidating, and she has no blackmail to hold over her, but Cora knows the only choice is to do what Delilah says. When you’re drowning and someone grabs your hand, you don’t ask them where they’re taking you.

A quiet breeze sighs through the tunnel, a dying exhale. It blows back Delilah’s bangs and Cora notices that Delilah has penciled in her eyebrows perfectly, even though it’s raining and they only went out to the store to buy toilet paper. Something about the sharp arch of her left eyebrow in particular triggers a thought that Cora doesn’t want to think, but it bites down all the same.

Sometimes, Cora thinks she hates her sister.

It’s strange how hate and love can so quietly exist at the same time. They are moon phases, one silently growing until one day all that’s left is darkness. It’s not something that Delilah says or does, really. Cora is used to her small annoyances.

It’s that Delilah is a daydream and standing next to her makes Cora feel real.

Cora has pores full of sweat and oil, socks with stains on the bottom, a stomach that sloshes audibly after she eats. Delilah is a pretty arrangement of refracted light who doesn’t have to worry about those things. Cora wanted to be like her for a very long time, because who doesn’t want to transcend their disgusting body and become Delilah Zeng, incorporeal, eternal? But Cora’s not so sure anymore.

Cora peers into the tunnel. We are going to be stuck here forever, Cora thinks, knows.

But then the sound begins, a rising symphony to Cora’s ears. The ground begins to rumble, puddles shivering.

“Finally,” Delilah says, pocketing her phone. “See? I told you.”

Cora nods because Delilah did tell her and sometimes Delilah is right. The things Cora thinks she knows are too often just bad dreams bleeding into her waking hours.

Far away, the headlights become visible in the darkness. A tiny mouth of white light.

“Cee,” Delilah says. Her tone is too delicate, and it makes coldness curl around Cora’s heart. Delilah tosses words out easily, dandelion parachutes carried about by the wind. But these words have weight.

Delilah toys with her bracelet—a jade bangle from their Auntie Zeng, the character for hope on the gold band. Cora has a matching one, shoved in a drawer somewhere, except the plate says love, at least that’s what Cora thinks. She’s not very good at reading Chinese.

“I’m thinking of going to see Dad,” Delilah says.

The mouth of light at the end of the tunnel has expanded into a door of brilliant white, and Cora waits because this cannot be all. Dad lives in Changsha, has lived there ever since America became too much for him, except it’s always been too much for Cora too and she has nowhere to run away to, her father hasn’t given her the words she needs. Delilah has visited him twice in the last five years, so this news isn’t enough to make Delilah’s voice sound so tight, so nervous.

“I think I might stay there awhile,” Delilah says, looking away. “Now that I’m out of work, it seems like a good time to get things settled before the pandemic blows over.”

Cora stares at the side of Delilah’s head because her sister won’t meet her gaze. Cora isn’t stupid, she knows what this is a “good time” for. Delilah started talking about being a model in China last year. Cora doesn’t know if the odds are better in China and she doubts Delilah knows either. All she knows is that Delilah tried for all of three months to make a career of modeling in New York until that dream fizzled out, smoke spiraling from it, and Delilah stopped trying because everything is disposable to her, right down to her dreams.

Cora always thought this particular dream would be too expensive, too logistically complicated for Delilah to actually follow through on. Worst-case scenario, they’d plan a three-week vacation to China that would turn into a week and a half when Delilah lost interest and started fighting with Dad again. The idea of flying during a pandemic feels like a death sentence, but Cora has already resigned herself to hunting down some N95 respirators just so Delilah could give her modeling dream an honest try.

Because even if Delilah tends to extinguish her own dreams too fast, Cora believes in them for all of their brief, brilliant lives. If Cora ever found a dream of her own, she would nurture it in soft soil, measure out each drop of water, each sunbeam, give it a chance to become. So Cora will not squash her sister’s dreams, not for anything.

“I’ll just put my half of the rent on my credit card until I find work,” Delilah says, “so you won’t need a new roommate.”

Then Cora understands, all at once, like a knife slipped between her ribs, that Delilah isn’t inviting Cora to come with her.

Of course she isn’t. Delilah has a mama who speaks Mandarin to her, so Delilah’s Chinese is good enough to live in China. But Cora’s isn’t. Delilah would have to do everything for her, go everywhere with her because she knows Cora would cry just trying to check out at the supermarket. Delilah could do it for her, but she doesn’t want to.

Cora suddenly feels like a child who has wandered too far into a cave. The echoes become ghosts and the darkness wraps in tight ribbons around your throat and you call for a mom who will never come.

Cora’s hands shake, fingers pressing holes into the plastic wrap of the toilet paper, her whole body vibrating with the sheer unfairness of it all. You can’t string someone along their whole life and then just leave them alone one day holding your toilet paper in a soggy train station.

“Or you could stay with your aunt?” Delilah says. “Then you wouldn’t have to worry about rent. It would be better for both of us, I think.”

Auntie Lois, she means. Mom’s sister, whose house smells like a magazine, who makes Cora kneel in a confessional booth until she can name all her sins. Delilah has decided that this is Cora’s life, and Delilah is the one who makes decisions.

Delilah keeps talking, but Cora can’t hear her. The world rumbles as the train draws closer. The white light is too bright now, too sharp behind Delilah, and it illuminates her silhouette, carves her into the wet darkness. Delilah has a beautiful silhouette, the kind that men would have painted hundreds of years ago. Cora thinks about the Girl with a Pearl Earring, and the Mona Lisa, and all the beautiful women immortalized in oil paint, and wonders if they said cruel things too, if their words had mattered at all or just the roundness of their eyes and softness of their cheeks, if beautiful people are allowed to break your heart and get away with it.

The man appears in a flash of a black hoodie and blue surgical mask.

He says two words, and even though the train is rushing closer, a roaring wave about to knock them off their feet, those two words are perfectly clear, sharp as if carved into Cora’s skin.

Bat eater.

Cora has heard those words a lot the past two months. The end of the world began at a wet market in Wuhan, they say, with a sick bat. Cora has never once eaten a bat, but it has somehow become common knowledge that Chinese people eat bats just to start plagues.

Cora only glances at the man’s face for a moment before her gaze snaps to his pale hand clamped around Delilah’s skinny arm like a white spider, crunching the polyester of her pink raincoat. Lots of men grab Delilah because she is the kind of girl that men want to devour. Cora thinks the man will try to kiss Delilah, or force her up the stairs and into a cab, or a thousand things better than what actually happens next.

Because he doesn’t pull her close. He pushes her away.

Delilah stumbles over the yellow line, ankle twisting, and when she crashes down there’s no ground to meet her, just the yawning chasm of the train tracks.

The first car hits her face.

All at once, Cora’s skin is scorched with something viscous and salty. Brakes scream and blue sparks fly and the wind blasts her hair back, the liquid rushing across her throat, under her shirt. Her first thought is that the train has splashed her in some sort of track sludge, and for half a second that is the worst thought in the entire world. The toilet paper falls from Cora’s arms and splashes into a puddle when it hits the ground and There goes the whole point of the trip, she thinks.

Delilah does not stand up. The train is a rushing blur of silver, a solid wall of hot air and screeching metal and Delilah is on the ground, her skirt pooling out around her. Get up, Delilah, Cora thinks, because train station floors are rainforests of bacteria tracked in from so many millions of shoes, because the puddle beneath her can’t be just rainwater—it looks oddly dark, almost black, spreading fast like a hole opening up in the floor. Cora steps closer and it almost, almost looks like Delilah is leaning over the ledge, peering over the lip of the platform.

But Delilah ends just above her shoulders.

Her throat is a jagged line, torn flaps of skin and sharp bone and the pulsing O of her open trachea. Blood runs unstopped from her throat, swirling together with the rainwater of the rotting train station, and soon the whole platform is bleeding, weeping red water into the crack between the platform and the train, feeding the darkness. Cora is screaming, a raw sound that begins somewhere deep inside her rib cage and tears its way up her throat and becomes a hurricane, a knife-sharp cry, the last sound that many women ever make.

But there’s no one to hear it because New York is a dead body, because no one rides the subway at the end of the world. No one but Cora Zeng.

Buy Links

HarperCollins: https://www.harpercollins.com/products/bat-eater-and-other-names-for-cora-zeng-kylie-lee-baker?variant=42432011436066
BookShop.org: https://bookshop.org/a/397/9780778368458
Barnes & Noble: http://aps.harpercollins.com/hc?isbn=9780778368458&retailer=barnesandnoble
Amazon: https://www.amazon.ca/s?k=9781335041791&tag=hcg-02-20

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Tuesday, April 29, 2025

Midnight in Soap Lake

Midnight in Soap Lake by Matthew Sullivan
Title:
  Midnight in Soap Lake
Author:  Matthew Sullivan
Publication Information:  Hanover Square Press. 2025. 416 pages.
ISBN:  1335041796 / 978-1335041791

Rating:   ★★★

Book Source:  I received this book through NetGalley and the Harlequin Trade Publishing's Winter 2025 Blog Tour Program free of cost in exchange for an honest review.

Opening Sentence:  "Something was there."

Favorite Quote:  "Collection was distraction. It allowed the journey to never end, like the roads he walked each day."

***** BLOG TOUR *****


Review

Soap Lake is an actual lake and an actual town. The small town has a population around 1,800. In the state of Washington, this lake has many unique features. Its layers of water do not mix; the scientific term is meromictic. It is a "soda" lake, meaning it has a high alkaline nature. It was formed by glacial flooding at the end of the last ice age. It has the name "Soap Lake" because it has a natural foam and its high mineral content gives the water a slick, soapy feel. The lake is about two square miles and is said to have some of the most diverse mineral content in the world. As such, many believe the water to have medical properties. In fact, for a period of time, the location became a site of spas and sanitariums for those suffering from a wide variety of ailments.

The science provides the background for this story because it is the science that brings the main character - Abigail - and her scientist husband Eli to Soap Lake. The story goes that Eli and Abigail settle into a house, and Eli settles into his work. Eli lets himself be tempted by another scientific project in Europe. Abigail is left alone in a new place with no real support system. Then, strange things start happening.

A child is found. A dead woman is found. A connection to the past is found. More strange happenings in the past form a pattern. The question is why and what does it mean for Abigail. I say only Abigail because Eli leaves. This is very much Abigail's story not Eli and Abigail's.

This book is part science fiction because the reality of the lake is based in its science. This book is part thriller and murder mystery. The book is part urban legend with Treetop, the bogeyman of Soap Lake.

Like Matthew Sullivan's Midnight at the Bright Ideas Bookstore, the book slowly peels back the layers to connect past to present. The crimes described are graphic and violent; so, reader, be aware. The ending, when it comes, reverts the mystery to seemingly prosaic issues. I expect something more unusual based on the rest of the book. In addition, I finish unsure if I even understand the reasons why behind the mystery.

This book does get bonus points for featuring a library and librarians who unwittingly become custodian of vital scientific and local history!

About the Book 

A lake with mysterious properties. A town haunted by urban legend. Two women whose lives intersect in terrifying ways. Welcome to Soap Lake, a town to rival Twin Peaks and Stephen King’s Castle Rock.

When Abigail agreed to move to Soap Lake, Washington for her husband’s research she expected old growth forests and craft beer, folksy neighbors and the World’s Largest Lava Lamp. Instead, after her husband jets off to Poland for a research trip, she finds herself alone, in a town surrounded by desert, and haunted by its own urban legends.

But when a young boy runs through the desert into Abigail’s arms, her life becomes entwined with his and the questions surrounding his mother Esme’s death. In Abigail’s search for answers she enlists the help of a recovering addict-turned-librarian, a grieving brother, a broken motel owner, and a mentally-shattered conspiracy theorist to unearth Esme’s tragic past, the town’s violent history, and the secret magic locked in the lake her husband was sent there to study.

As she gets closer to the answers, past and present crimes begin to collide, and Abigail finds herself gaining the unwelcome attention of the town’s unofficial mascot, the rubber-suited orchard stalker known as TreeTop, a specter who seems to be lurking in every dark shadow and around every shady corner.

A sweeping, decade-spanning mystery brimming with quirky characters, and puzzle hunt scenarios, Midnight in Soap Lake is a modern day Twin Peaks—a rich, expansive universe that readers will enter and never forget.

About the Author

Matthew Sullivan is the beloved author of Midnight at the Bright Ideas Bookstore, an Indie Next Pick, B&N Discover pick, a GoodReads Choice Award finalist and winner of the Colorado Book Award. He received his MFA from the University of Idaho and has been a resident writer at Yaddo, Centrum, and the Vermont Studio Center. His short stories have been awarded the Robert Olen Butler Fiction Prize and the Florida Review Editors’ Award for Fiction. His writing has been featured in the New York Times Modern Love column, The Daily Beast, and Shelf Awareness amongst others.

Excerpt

Excerpted from MIDNIGHT IN SOAP LAKE by Matthew Sullivan. Copyright © 2025 by Matthew Sullivan. Published by Hanover Square Press, an imprint of HTP/HarperCollins.

1
Abigail

Something was there.

An animal, Abigail was certain, loping in the sagebrush: a twist of fuzz moving through the desert at the edge of her sight. The morning had already broken a hundred. Her glasses steamed and sunscreen stung her eyes—

Or maybe she hadn’t seen anything.

Yesterday, while walking along this desolate irrigation road, she’d spotted a cow skull between tumbleweeds, straight out of a tattoo parlor, but when she ran toward it, bracing to take a picture to send to Eli across the planet—proof, perhaps, that she ever left the house—she discovered it was just a white plastic grocery bag snagged on a curl of sage bark.

Somehow. Way out here.

The desert was scabby with dark basalt, bristled with the husks of flowers, and nothing was ever there.

When Eli first told her he’d landed a grant to research a rare lake in the Pacific Northwest, Abigail thought ferns and rain, ale and slugs, Sasquatch and wool.

And then they got here, to this desert where no one lived. Not a fern or slug in sight.

This had been the most turbulent year of her life.

Eleven months ago, they met.

Seven months ago, they married.

Six months ago, they moved from her carpeted condo in Denver to this sunbaked town on the shores of Soap Lake, a place where neither knew a soul.

Their honeymoon had lasted almost three months—Eli whistling in his downstairs lab, Abigail unpacking and painting upstairs—and then he kissed her at the airport, piled onto a plane, and moved across the world to work in a different lab, on a different project, at a different lake.

In Poland.

When she remembered him lately, she remembered photographs of him.

The plan had been to text all the time, daily calls, romantic flights to Warsaw, but the reality was that Eli had become too busy to chat and seemed more frazzled than ever. This week had been particularly bad because he’d been off the grid on a research trip, so every call went to voicemail, every text into the Polish abyss. And then at five o’clock this morning, her phone pinged and Abigail shot right out of a drowning sleep to grab it, as if he’d tossed her a life preserver from six thousand miles away.

And this is what he’d had to say:


sorry missed you. so much work & my research all fd up. i’ll call this weekend. xo e


As she was composing a response—her phone the only glow in their dark, empty home—he added a postscript that stabbed her in the heart like an icicle.

P.S. maybe it time since remember using time to figure out self life?


What kind of a sentence was that? And what was a “self life” anyway?

Abigail had called him right away. When he didn’t pick up she went down to the lab he’d set up in their daylight basement. She opened a few of his binders with their charts of Soap Lake, their colorful DNA diagrams, their photos of phosphorescent microbes, as cosmic as images from deep space. She breathed the papery dust of his absence and tried to imagine he’d just stepped out for a minute and would be back in a flash, her clueless brilliant husband, pen between his teeth, hair a smoky eruption, mustard stains on the plaid flannel bathrobe he wore in place of a lab coat.

From one of his gleaming refrigerators, Abigail retrieved a rack of capped glass tubes that contained the Miracle Water and the Miracle Microbes collected from the mineral lake down the hill— she sometimes wondered if her limnologist husband would be more at home on the shores of Loch Ness—and held one until a memory arose, like a visit from a friend: Eli, lifting a water sample up to the window as if he were gazing through a telescope, shaking it so it fizzed and foamed. And then he was gone again.

She hated that she did this. Came down here and caressed his equipment like a creep. Next she’d be smelling his bathrobe, collecting hairs from his brush. It was as if she felt compelled to remind herself that Eli was doing important work and, as the months of distance piled up, that he was even real.

Back when they’d first started dating, Abigail had been the busy one, the one who said yes to her boss too much and had to skim her calendar each time Eli wanted to go to dinner or a movie. Of course her job as an administrative assistant in a title insurance office had never felt like enough, but when she mentioned this restlessness to Eli, finding her path—figure out self life—had suddenly become a centerpiece of their move to Soap Lake. But they got here and nothing had happened. It wasn’t just a switch you flipped.

Abigail slid the tall tube of lake water back into its rack. Only when she let go, the tube somehow missed its slot and plunged to the floor like a bomb.

Kapow!

On the tile between her feet, a blossom of cloudy water and shattered glass.

She stood over the mess, clicking her fingernails against her teeth and imagining microbes squealing on the floor, flopping in the air like miniscule goldfish. She told herself, without conviction, it had been an accident.

And then she stepped over the spill, put the rack back in the fridge and, surprised at the immediacy of her shame, went for a walk in this scorching desert.

It stunned her, how harsh and gorgeous it was.

Loneliness: it felt sometimes like it possessed you.

She hadn’t spoken to anyone in over a month, outside of a few people in the Soap Lake service industry. There was the guy who made her a watery latte at the gas station the other morning, then penised the back of her hand with his finger when he passed it over. And the newspaper carrier, an old woman with white braids and a pink cowgirl hat, who raced through town in a windowless minivan. She told Abigail she was one DUI away from unemployment, but the weekly paper was never late. And the cute pizza delivery dude who was so high he sat in her driveway on his phone for half an hour before coming to the door with her cold cheese pizza, saying, Yes, ma’am. Thanks, ma’am, which was sweet but totally freaked her out. And the lady with the painted boomerang eyebrows in the tampon aisle at the grocery store who gave her unwanted advice on the best lube around for spicing up menopause, to which Abigail guffawed and responded too loudly, “Thanks, but I’m not even goddamned forty!”

At least she’d discovered these maintenance roads: miles and miles of gravel and dirt, no vehicles allowed, running alongside the massive irrigation canals that brought Canadian snowmelt from the Columbia River through the Grand Coulee Dam to the farms spread all over this desert. The water gushed through the main canals, thirty feet wide and twenty feet deep, and soon branched off to other, smaller canals that branched off to orchards and fields and ranches and dairies and soil and seeds and sprouts and leaves and, eventually, yummy vital food: grocery store shelves brimming with apples and milk and pizza-flavored Pringles.

Good soil. Blazing sun. Just add water and food was born.

Almost a trillion gallons a year moved through these canals. T: trillion.

All that water way out here, pouring through land so dry it crackled underfoot.

She halted on the road. Pressed her lank, brown hair behind her ear. Definitely heard something, a faint yip or caw.

She scanned the horizon for the source of the sound and there it was again, a smudge of movement in the wavering heat. Something running away.

A few times out here she’d seen coyote. Lots of quail, the occasional pheasant. Once, in a fallow field close to town, a buck with a missing antler that looked from a distance like a unicorn.

Not running away, the smudge out there. Running toward. She was nowhere near a signal yet her instinct was to touch her phone. She craned around to glimpse the vanishing point of the road behind, gauging how far she’d walked and, if things got bad, how far she’d have to run.

Three miles, minimum. Six miles, tops.

Definitely approaching.

Not something. Someone.

A human. Alone.

Running. A boy.

A little boy. Sprinting.

Abigail froze as their eyes met, and suddenly the boy exploded out of the desert, slamming into her thighs with an oof! He wore yellow pajamas and Cookie Monster slippers covered in prickly burrs.

He clung to her legs so tightly that she almost tipped over. When she registered the crusty blood on his chin and cheeks and encasing his hands like gloves, she felt herself begin to cry, scared-to-sobbing in one second flat.

Deep breath. Shirt wipe.

“Hey! Are you hurt? Look at me. Are you hurt?”

The boy wasn’t crying, but his skin was damp and he was panting hot and wouldn’t let go of her legs. She felt a hummingbird inside of his chest.

She knelt in the gravel and unfolded his arms, turning them over at the wrist. She lifted his shirt and spun him around as best she could. He had some welts and scratches from running through the brush, and the knees of his pj’s were badly scuffed, but he wasn’t cut, not anywhere serious, which meant— The blood belonged to someone else.
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Sunday, April 13, 2025

The Queens of Crime

The Queens of Crime by Marie Benedict
Title:
  The Queens of Crime
Author:  Marie Benedict
Publication Information:  St. Martin's Press. 2025. 320 pages.
ISBN:  1250280753 / 978-1250280756

Rating:   ★★★

Book Source:  I received this book through NetGalley free of cost in exchange for an honest review.

Opening Sentence:  "None of us is as we appear, I think as I watch the woman enter the marble-trimmed lobby of Brown's Hotel"

Favorite Quote:  "Never forget that we women aren't what you call us - witches or crones or madwomen or surplus or nobodies. We are all Queens."

The Detection Club, a collective of mystery authors founded in the 1930s, still exists. The original purpose of the club was for authors to support each other and to promote their genre of writing. This books begins with the founding of the club as the brainchild of author Dorothy L. Sayers. The main characters are some of the club's female founding members - Dorothy L. Sayers, Agatha Christie, Ngaio Marsh, Margery Allingham and Baroness Emma Orczy.

The problem that begins the book is a universal one. The male authors looks down upon, frown upon, regard with disdain, ridicule ... add other epithets here ... the female authors. They disregard the women's skills of weaving mysteries and writing compelling stories.

Added to this is the intrigue of an unsolved murder. The victim is a young woman. The case is unsolved, but certain recent happenings haver garnered interest. Even in this regard, the victim - being a woman - is maligned and the cause of death laid perhaps at the door of her own actions. 

The women of the Detection Club enter this mystery for a two-fold reason. The first is a selfish one. If they can solve this unsolved case, perhaps they can once and for all establish their own credibility in this arena. As they get more involved, the focus shifts to also obtaining justice for this young woman who has been brutally murdered and whose reputation is attacked even after her death.

It is disconcerting at first to read about the authors as characters. Having read works by at least some of them, part of me looks for the detectives they so expertly bring to life. It is an interesting mind switch to see them as the detectives and in the time and place of 1930s England and France. It is also interesting to see these icons of the genre as actual people facing the challenges of their lives and their gender.

The ending to the mystery of book is a rather prosaic one that feeds into, what I feel, is the overarching theme of the book. It is all about women in a male dominated world - whether in work, play, or life overall. That theme is repeated over and over throughout the book. Many times, the theme is stated or told rather than shown, making the book at times very slow going. 

I loved The Personal Librarian by Marie Benedict. That book fleshed out and brought to life one main character, a time and place, and all the emotions that entails. This one does not quite accomplish that - perhaps too many characters to develop any one, perhaps a story of a time and place complicated with a murder mystery, and perhaps letting the main point of a male-centric world getting in the way of telling the story of that world.

I am fascinated by the historical finds that the author develops into entire books. I still look forward to see what she tackles next.


Please share your thoughts and leave a comment. I would love to "talk" to you.

Monday, April 7, 2025

Dream Count

Dream Count by Chimamanda Ngozi Adichie
Title:
  Dream Count
Publication Information:  Knopf. 2025. 416 pages.
ISBN:  0593802721 / 978-0593802724

Rating:   ★★

Book Source:  I received this book through NetGalley free of cost in exchange for an honest review.

Opening Sentence:  "I have always longed to be known, truly known, by another human being."

Favorite Quote:  "Something inside you, not the heart. The spirit. The spirit cannot break, even if your heart break. Your spirit stay strong."

I love the opening sentence of this book. That idea is something most, if not all, of  us hold dear. To be seen. To be known. To be heard. The unsaid corollary accompanies. We wish to be seen with all our beauty and all our faults, and we wish for that someone to love for all our beauty and our faults. I am excited to get into the book and follow the idea.

I love the idea of the book - interconnected stories of four women, each independent, each strong in her own way, each weak. each part of a sisterhood holding each other up. I am excited to get into the book and learn more about the story of these women. 

I love the presumed setting - the COVID-19 pandemic. We have all just lived it. We have experiences the losses, the isolation, and the heroism. I am excited to get into the book and see perhaps my own experiences brought to life.

I love the author's note at the end of the book. "Novels are never really about what they are about. At least for this writer." ... "Stories die and recede from the collective memory merely for not having been told. Or a single version thrives because other versions are silenced. Imaginative retellings matter." I learn that this story for the author is about her mother. I also learn that one woman's story is also inspired by the story of a poor immigrant woman and what she suffered at the hands of those with more power and money and what she suffered at the hands of the system - "a person failed by a country she trusted." I am excited to get into the book and learn more about this history.

Unfortunately, I struggle with the book itself. The dream of being known devolves into the story of the men who did not "see" rather than of the woman herself. In fact, the stories of all the women become much more focused on the men and the power dynamic of those men in society and in these relationships. The story of the pandemic gets somewhat lost as the women's stories traverse their own histories before and after; the time element becomes less relevant to the book. The historical inspiration I learn from the author's note more so than the story itself.

I find myself putting the book down, reluctant to go back. I persevere, but I am sad, for I so wanted and expected to love this book.


Please share your thoughts and leave a comment. I would love to "talk" to you.

Wednesday, April 2, 2025

1666

1666 by Lora Chilton
Title:
  1666
Author:  Lora Chilton
Publication Information:  Sibylline Press. 2024. 224 pages.
ISBN:  1960573950 / 978-1960573957

Rating:   ★★★★★

Book Source:  I received this book through NetGalley free of cost in exchange for an honest review.

Opening Sentence:  "The Patawomeck tribe of Virginia was referenced in many early written records starting in the 1600s by explorers Caption John Smith, William Strachey, and Henry Spelman, among others."

Favorite Quote:  "He does not understand that no ones own this land; this is for all people to share. He does not understand that he cannot own this land, but he keeps trying."

A note about the publisher:  Sibylline Press is a relatively new imprint. Their goal is to "publish the brilliant work of women authors over 50!" 1666 is the first book under the imprint.

A note about the author:  Lora Chilton is member of the Patawomeck Tribe. The book is based on research through interviews with tribal elders, colonial documents, and a study of the Patawomeck language. 

A note about the book. The book includes indigenous names and the Patawomeck language in tribute to the culture. The book includes a glossary for the terms and names used. Often, the book will provide both terms in the text which is alternatively helpful and redundant.

Now on to the story.

The Patawomeck are a Native American tribe, who call home the area around the Potomac River that is now Stafford County, Virginia. Potomac, in fact, is said to be another spelling of Patawomeck. The tribe's first recorded meeting with the Europeans is dated to 1608 and Captain John Smith. At times, the Europeans and the Patawomeck were allies and trade partners. In 1662, however, a tribe member was arrested. Trial in 1663 judged him not guilty. However, he was murdered on his travel home. In 1665, the colonists forced the tribe to "sell" their remaining land. In 1666, the colonists declared war on several tribes including the Patawomeck.

That is where this book begins.

As an act of war, all the men and even some growing boys are massacred. The babies are taken from their mothers and given to other families. The women, girls, and young children are put on board a ship and sent to Barbados to be sold into slavery. This part of the history is little known. "Every tribe along the East Coast of the New World has experienced similar losses. There are no words to describe the devastation." The current tribe members are descendants of the survivors of the 1666 massacre.

This book is the story of three of these women, one who is merely a girl at the time. The story is told as a first person narrative through the eyes of these women. The first person narration also pays homage to the oral tradition that documents the history of the tribes. The first person narration also portrays the atrocities experiences and the losses in a way that other narrative techniques would not. The details are horrifying! "I do not cry. I have no tears left. There is nothing left."

This book is also a story of courage, resilience, and survival. It is about a journey home. It is the story of the fact that, despite every effort to destroy them, the tribe survives today. An emotional, heart-wrenching story recounting an unforgettable history.


Please share your thoughts and leave a comment. I would love to "talk" to you.