Zanna is accepted into the St. Pommeroy’s School for Gifted Children, where she learns that she is a Scientist, who can bend the rules of physics. A mysterious woman attempts to prevent her from attending the school, and Zanna must draw upon her new abilities, resources, and friends to fight her. The secret she discovers about the woman must be setting Zanna’s story up for a series.
This story sets up the conflict immediately with the mystery woman thwarting Zanna’s attendance at the school through scientific “magic,” carefully detailed by Wheatley. The capabilities taught in the school intrigue Zanna, and the reader needn’t be a scientist to follow along.
I was fortunate to receive a digital ARC through NetGally of this delightful story.
Megan’s health changes drastically with a heart transplant, yet she still feels unable to challenge herself. When she meets the donor’s parents, who share their daughter’s diary, she decides to fulfill the girl’s bucket list of traveling desires. Her mother is horrified, her father supportive, and her twin sister Crystal asking to go with her to resolve their estrangement and remove herself from her own problems. The destinations exceed Megan’s expectations and the journey allows the sister to open up to each other, enabling Crystal to fully become her own person, not merely part of her sick sister’s support system.
A fairy falls in love with a king’s son doomed to die by the hand of his older brother in the land of stories. A troll sends him to the land of humans in banishment rather than kill him, allowing the fairy to follow with the caveat of never contacting him. She watches him age as she maintains the appearance of a teenager. He spends his entire human life trying to return to the land of stories. The fairy monitors his transition to the son of a kindly couple who own a marshmallow shop in order to enter the military. In his old age, he is encountered by a young boy who meets him again as a young man when he is fighting again for his life. The fairy elicits the young man to record their tale for proof.
Dr. Nikhil Johsi has spent the last two years drowning his grief in gin and bourbon, barely maintaining his position as cruise ship doctor, graciously offered him by an old friend, and a lifetime away from Doctors Without Borders. Then he spies his dead wife on the ship. The mystery deepens when he learns who it really is and why she’s taunting him. Dr. Nic comes back to life to resolve this further mystery and finally aid in finding his wife’s true killer. The language in this novel is surprisingly a bit rough—a well-educated doctor using the term “crapper.” The love interest is a complicated, emotionally repressed, chorus dancer who is a single mom, a vulnerable woman caught up in an impossible situation, and she steals the story. Dr. Nic’s wife Jen inserts her own voice at the beginning of each chapter, which brilliantly sets her apart, yet maintains her space in the crux of the tale.
Rupi Kaur divided her poetry collection into five sections. Wilting begins…on the last day of love…my heart cracked inside my body…and continues this part of the story throughout the following poems. Falling exposes the self in an introspection of negativity, moving from grief to the numbness of sudden aloneness. Rooting reaches the stage of connecting with community, recognizing pain and fear, power and strength on a larger scale. Rising expands and contract the self, bringing the strength inward…i will welcome…a partner…who is my equal…celebrating the self and being proud of ancestry. Blooming shares the fruits of the labors of those who have gone before…i am the first woman in my lineage with freedom of choice…praising her parents’ decision to immigrate and allow daughters to fully become themselves. Kaur’s poetry has been derided for being so accessible to the masses, which is a shame, because what then is the point of exclusivity of art…
Leni doesn’t understand the love that binds her mother in marriage to a man suffering from PTSD. Hannah’s sympathetic view of a Vietnam War POW is heartrending as he struggles to assimilate back into a normal life in Seattle. After inheriting a cabin in a small town, he decides to take his family to Alaska to avoid the government and live off the grid. Kristin Hannah is familiar with the harsh wilderness of Alaska, and she depicts well the lifestyle of those who choose to live where one mistake can cost you your life. All characters are well developed and their reasons for living in such isolation are hinted at and sometimes told outright. The reader can feel the lure of the landscape and the wildlife, and the pragmatic nature of small town Alaska, where everyone takes care of even the most resistant newcomer. As Leni comes of age and finds herself falling for her classmate and friend, her father’s paranoia escalates to dangerous heights for his family. This is when Leni discovers her mother’s breaking point, and eventually her own need for the kind of freedom that Alaska offers. Leni’s story is one of many that show how living outside the mainstream can become a lifestyle choice, a necessity for the soul. Her parents are not unusual in their challenge to maintain a marriage in the face of one partner’s personal demons. When external influences exacerbate those demons, the other partner finds the limit to the relationship.
Media mogul Henry Dunbar has taught his two older daughters too well. In a lapse of judgment, he hands over his power to them, and they respond by placing him in an isolated sanatorium, as a business move, of course, and cutting loose his right hand man, Charlie Wilson. His youngest daughter by his second wife, his obviously favorite child, who rejected the family business, and he rejected in turn, searches for him out of love. In this modern day King Lear, the patriarch escapes with the assistance of an unreliable colleague, ending up in the rural wilderness during a mighty storm. Rage at the disloyalty of the turncoat daughters and the desire for forgiveness from his beloved youngest fuels his survival instincts. Henry not so much evolves as he makes a 180-degree turn to become a man understanding of his youngest daughter’s inclination toward family and away from money. Good and evil are clearly delineated by the two older, traitorous daughters and the youngest, all-loving daughter, easily explained by their different mothers. In his dangerous escapade, their father essentially switches sides, focusing immediately on reconciliation with the good daughter. Wilson aides in her search, never giving up on his employer and friend. In Shakespearean fashion, the inevitable happens, with good winning and losing.
Michael Ellsworth Newberry’s life has been miraculously spared multiple times throughout his life. In his hometown of Bellhaven, South Carolina, he is the unofficial leader of the unusually diverse, small town, Southern community. He has lost his wife to the town hall fire after her rescue of a young black child sought by Klansman, who set the fire. He has lost his leg to World War I, where he also lost his best friend and any chance at the Big Leagues as a pitcher. Left bereft and wallowing in self-pity, Ellsworth is the last of the townfolk to receive the forgiveness and peace offered by lost loves in the mysterious chapel in the woods, the same woods that the children of Bellhaven had been warned to avoid for as long as they can remember. He doesn’t respond as readily as the others to this gift, fighting it, determined to expose the double-edged sword of such a gift.
Patricia sacrifices her social life and romance to care for her mother, whom everyone assumes is going through “the change.” Patty knows better, but doesn’t know how to help her mother find herself after accommodating her husband their entire marriage. As she and her siblings come of age, they move on and away from their parents, becoming distinctly different individuals who come together in the end for Patty’s wedding. Told in short story form, going back generations, the women in Patty’s ancestry lay a foundation of accommodation and depression that she is determined to escape. The women in these stories are strong, but historical convention keeps them in check, and they don’t have the tools to continually fight social mores of gender expectations. The writing flows so well that the stories lead right into each other, though they can, and have (and won prizes), stand alone. Together, they show the pattern repeated by each generation of women in choosing partners to “save” them from their families, judging poorly based on immediate escape. That they stay with their ill choices is more a matter of their time in history, as shown by Patty’s mother being unable to get a driver’s license without her husband’s or father’s permission.