Fiction

“’It’s hardly surprising that crime fiction, with its insistence upon one inarguable ending and a landscape in which the guilty are punished and the innocent freed to continue with their li

Novels about academia almost always veer toward satire (see Richard Russo’s Straight Man, Jane Smiley’s Moo, or Zadie Smith’s On Beauty) because the egos, trappings, and

“The Wildes is both a powerful family portrait and a verbal delight.”

“the reader is alone at the end of the novel, left to contemplate the cavernous world below and the mysteries of the star-cluttered sky.”

“The action is expertly propelled forward by a well-constructed plot and the scintillating dialogue that showcases the skills of the author . . .”

“In A Kid from Marlboro Road Edward Burns perfectly captures a bygone era and sense of place.”

“Character, plot, voice, words—Adderson has command of all elements of a story. She should be read.”

“First Do No Harm delivers plenty of suspenseful action, upping the ante every chapter in a race to the end.”

“such a propulsive page turner it’s almost impossible to put down as the tension builds . . .”

“For heaven’s sake, what kind of a nitwit parks in a marked space that doesn’t belong to them?” Charlotte fumes as she spies a car in Patricia Walker’s private parking slot.

“Expect to be baffled during much of the book, since this trip of a lifetime is being interpreted by Agnes, who’s rarely sure of what she’s witnessing.”

“a well-constructed take on Bram Stoker’s classic Dracula with a gender-switching twist, making the story a thinly veiled allegory for the mistreatment and subjugation of women by