A fifteen-year window into the life of an NYC woman who is the outlier of her wealthy and privileged family is Laura & Emma. Author Kate Greathead presents her first novel, a story of a mother and daughter that explores family relationships, social standards, and the sacrifices that come with choosing motherhood.
It’s easy to completely relate to Laura. She is a woman who mostly keeps to herself, doesn’t fall in with social standards of the upper class, has a favorite neighborhood grocery store, and doesn’t exactly love the idea of all-the-time sex. Laura is embarrassed by the word “wealthy,” and she tries to independently make a living without her family’s money. She adheres to her own particular fashion habit of rarely buying new clothes with a “’Use it up, wear it out, make it do, or do without’” mentality. She is quite content to be living a solitary and simplistic life.
Then, in the summer of 1981, Laura has her first and only sexual experience that leaves her pregnant. Laura schedules an abortion – her “greatest gift to the planet” – but changes her mind on the morning of her scheduled abortion. With the arrival of her daughter, Emma, Laura’s quiet life evolves into a life of pediatricians, private school admission applications, game nights, and beach vacations. Emma grows to be curious, energetic, and strong-willed; though Laura and Emma are close while Emma is young, they inevitably grow apart as Emma gets older, until Emma goes off to boarding school and Laura resumes her solitary life.
Greathead expertly weaves her novel through interlaying nods to the history of New York City in the 1980s and 1990s. With each abrupt introduction of a new scene, Greathead gives just enough information on what must have happened in the lost time to encourage her audience to continue on. Reading more like a narrated journaling that is built from a chronological collection of aperçus, Laura & Emma is a strong debut novel that gives so many more questions to ask than are answered.
After years of research and teaching of Hindu and Buddhist art history and culture, author Madhu Bazaz Wangu presents her second novel, The Last Suttee. Through the story of Kumud, a woman director of a girl’s orphanage in India, Wangu tells a story of how just one single, driven female can change an entire community’s perspective on an established way of life.
Wangu draws her tale from the ancient Indian custom of sati, a practice which historically lead a widow to throw herself onto her husband’s funeral pyre in order to remain a “chaste woman,” literally, a “good wife,” even in her husband’s death. Wangu uses inspiration from the popular case of Roop Kanwar, an eighteen-year old girl whose decision of sati led to official legislation against sati. While fighting personal struggles within herself, Kumud proves to be a heroine by effectively preventing a young girl’s own sati.
The Last Suttee reads to show Wangu’s obviously extensive research into not only the custom of sati, but also the everyday customs and ancient folklore surrounding the Indian culture. The novel opens with an issue of dowry, and continues with insight into popular female overlook and condemnation. Wangu has the gift of setting, and expertly keeps her stage well-described and easily imaginable for the reader.
A powerful and relevant tale of liberation from a devotional but debilitating custom, The Last Suttee is an excellent representation of how the Hindu female population has found strength to grow against a binding and deathly tradition.
From the author: Why I Wrote The Last Suttee
On the morning of September 5, 1987, I was going through the Hillman Library card catalogue at the University of Pittsburgh when a friend stopped by. She told me something I would never forget. She said that an eighteen-year-old Indian woman, named Roop Kanwar, had immolated herself on the pyre of her dead husband. I was dumbfounded. Suttee in the twentieth century? It couldn’t be. But The New York Times confirmed the news. The ritual, known as suttee, was witnessed by the townspeople and thousands more came to see it from nearby villages and towns. When the news was leaked the following day, the town was swarmed for days by Indian and international journalists. I was stunned and speechless, my legs laden with lead. At that frozen moment, the seed for this book was planted.
The kernel stayed dormant, but the incident continued to sear like a wound at the back of my mind. The distress was raw, but I was not yet emotionally ready to write about what had happened and how it had affected me. In the ensuing years, I trawled libraries, bookstores, and the Internet, learning about the history of suttee and the cultural and religious traditions in which it is rooted. I studied records of the shrines dedicated to women who had committed suttee. I read the history and mythology of the namesake goddess, spelled Sati. Critically and carefully I analyzed the photographs of Sati temples and studied the engravings, drawings, and paintings of the goddess Sati and the suttee ritual that had been made by British, European, and Indian artists and travelers.
Sutteeis a centuries-old Hindu ritual. This ancient belief still persists in some remote corners in India. The belief is if a widow cremates herself with her dead husband, the couple will live in heaven as they did on earth. Furthermore, such a sacrifice guarantees a place in heaven for seven generations for both sides of the family.The ritual is rooted in the myths of two goddesses: Sati, Shiva’s wife, and Sita, Rama’s wife. Here are summaries of the myths:
Goddess Sati is the daughter of the high priest Daksha. Shiva, the world renouncer, is so awed by her yogic skills and asceticism that he grants her a boon. Sati asks to marry him. He agrees. Daksha dislikes Shiva. He finds Shiva unconventional and unkempt. Despite her father’s opposition Sati marries Shiva and they live in his mountain abode in Himalayas.
Daksha plans a great sacrifice. He invites all the important divine beings, except Shiva. Sati feels disgraced by the way in which her father has treated her husband. On the day of the great sacrifice, she throws herself in the fire pit meant for the sacrifice. And burns herself to death. When Shiva discovers what has happened to his wife, he is outraged. He pulls out Sati’s half-burnt body, holds it on his shoulders, and in anguish and lamentations whirls around the world.
Goddess Sita is an ideal Hindu wife. Her husband, Rama, is the center of her life. His welfare, reputation, and wishes are most important to her. One day, the demon king Ravana abducts her and takes her to his golden palace. He lies to her that he has killed Rama. Sita is horrified. She moans and tells him that it must have been her fault that her husband was killed. She warns Ravana she could burn him to ashes with the fire of her chastity, but she won’t because she did not have her husband’s permission.
In the end, Rama defeats Ravana and brings Sita home. There he severely tests her loyalty because she has spent days under the control of another man. Sita is shocked at such an accusation. She protests her innocence. She says she has remained wholly devoted and completely faithful to him. Rama persists.
Grieved by his false accusation, Sita asks for a funeral pyre to prove her innocence. A pyre is built, and Sita stands atop it with hands folded. Agni, the god of fire, refuses to harm her because she is innocent and pure. She returns to Rama unscathed. Yet he banishes her to a forest.
Sati and Sita are faithful and chaste wives, and they are devoted to their husbands. The lives of these goddesses are defined by their husbands. Although their dedication and chastity are exemplary, they pay a heavy price for being wives. In both myths, fire plays an important role. Whereas Sati voluntarily kills herself, Sita is saved by Agni. Their god/husbands are alive when the women jump into the sacrificial pit or on the funeral pyre. But ordinary women’s lives are no myths. When a woman is forced into being a suttee, neither her husband nor the god of fire will save her.
The suttee ritual was outlawed by British Raj in 1829. The ritual was described as “heinous rite” when cases surfaced about widows being tied to their husband’s pyre even after being intoxicated with bhang or opium. Many reports of widows escaping and being rescued by strangers were also recorded. Still, more than a century later, scattered instances of the custom have been reported, such as Savitri Soni’s in 1973 and Charan Shah’s in 1999.
The most notorious and controversial case, however, was of Roop Kanwar. Indian people either publicly defended Roop’s action or declared that she had been murdered. Following the outcry that followed Roop Kanwar’s suttee, the government of India enacted the Rajasthan Sati Prevention Ordinance on October 1, 1987. The law makes it not only illegal to commit suttee but also illegal to glorify the ritual or coerce a woman to commit suttee. Glorification includes erecting a shrine to honor the dead woman or converting the place where immolation took place into a pilgrimage site. Derivation of any income from such activities is also banned. The law makes no distinction between a passive observer and an active promoter. Everyone is held equally guilty.
The seed for writing a book inspired by Roop Kanwar’s suttee finally sprouted in November 2009, when I wrote its first draft as part of National Novel Writing Month (NaNoWriMo), a nonprofit internet organization that supports writers in an effort to complete the initial draft of a novel in one month.
It would take me seven more years to finalize the draft.
The story continued to incubate. I developed the characters, sketched the settings, wrote the narrative and dialogue. But to birth a healthy novel and bring it to life, I had to experience the environment in which Roop Kanwar was born, lived, and died. I needed to converse with the people who allowed it to happen. I wanted to know the antagonist and protagonist’s viewpoints.
I visited India for a month in 2013 for that purpose. I went to the small towns of Deorala, where Roop Kanwar committed suttee, and Jhunjhunu, home of an imposing marble temple dedicated to faithful women who sacrifice their young lives immediately after their husbands’ deaths. The visit stirred feelings of remorse and wonder. Why did people celebrate sacrificial death? How does blind faith hide behind the stunning structure? Domestic and temple architecture, middle and high schools, ancient mansions with bedroom walls made of mirror-mosaics (some now converted to five-star hotels) were breathtakingly beautiful. The local flora and fauna were intriguing, and men and women’s attire colorful. I fell in love with the place. But I wasn’t there as a tourist. I was there to fulfill a quest, to do something about an event that jolted the core of my being.
Meeting with the people of Deorala opened my mind to the fact that a community’s worldview can be so different from my own. Yet my sorrow and awe about Roop Kanwar and my feelings about other widows like her were not alleviated by talking to Roop’s father-in-law, her brother-in-law and his wife, or their neighbors. Nor did I blame them after visiting her neglected and unkempt suttee site. However, the visit helped me better understand the point of view of the town residents. A magnificent temple dedicated to the goddess Sati, which locals honor and regard highly, further clarified their worldview.
My interview with Roop Kanwar’s father-in-law took place in the verandah outside the room where Roop lived with her husband. This was the room where she dressed herself in bridal attire and decked herself in jewelry before following her husband’s dead body to the cremation site. The room has been turned into a shrine, and Roop has become an ishtadevi, a manifestation of Narayani Satimata, a local goddess higher in the pantheon of the thousands of village goddesses of India.
When I asked to go to where Roop performed suttee, her father-in-law declined to walk along, but he did ask other men to take me there. I treaded the path that evidently Roop Kanwar, most probably intoxicated with bhang, walked with the help of two women. They followed her husband’s litter, which four male relatives carried. I was told a lamenting crowd of men, women, and children followed the dead body and Roop as they headed toward her husband’s funeral pyre.
Facing the desolate ground where the ritual had taken place twenty-six years earlier, I shed tears of pain for an eighteen-year-old who didn’t know better, and who no one came to rescue.
The characters in this novel are fictional, but the setting is historic. Writing it does not feel like redemption, for I still ache for the women of the world who are engulfed in outmoded traditions, who are uneducated and dependent. Women with so much potential to offer their families, their communities, and, most importantly, to themselves.
Undoubtedly, the world over, women have made tremendous progress. Yet, the path to elevating women’s social status has many roadblocks, and the process is slow. I sincerely hope The Last Suttee not only helps remove a block or two but also adds substance to the process of change.
About Madhu Bazaz Wangu
Madhu Bazaz Wangu is an author, artist, world-traveler, and the founder of the Mindful Writers Group. She was a professor of arts and religions of India before becoming a full-time writer. She has a doctorate in the Phenomenology of Religions from the University of Pittsburgh, and a post-doctoral fellowship from the Harvard University. Over twenty-five years, Wangu has taught at the University of Pittsburgh and Chatham College in Pennsylvania, Wellesley and Wheaton Colleges in Massachusetts, and Rhode Island College.
In 1997, Dr. Wangu voyaged around the world with students and faculty members from various American universities for the Semester-at-Sea program. She loved the experience so much, that each year she has been revisiting places of historical significance in different countries, observing the cultures, meeting the people, and enjoying their cuisine.
In 2010, Dr. Wangu founded the Mindful Writers Group, and in 2015, she started a second group. Dr. Wangu encourages writers of all levels and genres to delve deeper in their work by body-mind-heart meditation. Her album, Meditations for Mindful Writers, was released in 2011. Dr. Wangu also guides writers in meditation and writing marathons. Twice each year, Mindful Writers Groups gather for writing retreats where groups practice sitting and walking meditations surrounded by nature in-between long writing sessions.
Madhu B. Wangu has published four books and numerous essays on Hindu and Buddhist goddesses and Indian religions. She has held five one-person art exhibitions in India and the US. Her collection, Chance Meetings: Stories About Cross-Cultural Collisions and Compassion, was published in 2015, and her debut novel, The Immigrant Wife: Her Spiritual Journey, was published in 2016. Currently, Dr. Wangu is writing a guidebook for mindful writing.
“A stunning story of one woman’s struggle to stop the ritual of suttee. The novel weaves centuries old traditions with the stark march toward twenty-first century. It progresses with surprising plot twists, a ticking clock, and stubborn and powerful antagonist who challenges the protagonist, Kumud, to stand up to the orthodox and close-minded community” – Bestselling author, Kathleen Shoop
“Curiosity didn’t kill the cat, it gave her material for stories.” Thus says author Lisa Manterfield, who presents her second curious novel, The Smallest Thing. Set in the Derbyshire Dales village of Eyam, The Smallest Thing is inspired by the historical plague that overtook Eyam in the 1600s and led to quarantine of the village. In The Smallest Thing, Manterfield’s protagonist, Emmott Syddall, finds herself in a similar quarantine which keeps her from fulfilling her desire to move to London, and ultimately leads her to grow while questioning what she really wants to do with her life.
Manterfield has described herself as loving “fish-out-of-water stories of ordinary people in extraordinary situations, especially if those situations delve into the unexplained.” At closer to eighteen than seventeen years old, self-centered Emmott is quite decided on leaving her small-town life in Eyam and strained relationship with her father. Wanting to be with her boyfriend, Ro, and having found a job and apartment in London, Emmott plans to move within a matter of days from the novel’s opening. A sudden outbreak of an unknown illness traps Emmott in the middle of a mysterious sickness, complete with a village-wide quarantine, HAZMAT suits, and situation briefs. Though she searches for a way outside the town’s boundaries, Emmott is unable to find an escape past the quarantine, and when Ro abandons their plans to move, Emmott is left with crushed dreams and nothing to do but ride out the outbreak.
In The Smallest Thing, Manterfield explores not only the historical effects of quarantine, but also the personal effects of being held in close proximity with the same people for long periods of time. As a teenager, Emmott has not yet learned to think of how her actions affect the people around her. When she is forced by the quarantine to zero in on her relationships with her father, best friend, neighbors, and even Ro, Emmott learns things about the people closest to her that she didn’t know before. She also gets a rude awakening of what it is to be alone – the very state of being that she was running toward by planning to move to London.
“I can’t count the number of times I’ve wished I could be alone. I couldn’t wait to get away from the village and out from under the watch of my parents, to be free to be myself and do my own thing, without other people and their opinions getting in the way. I wished so hard for that, and now I’ve got it. Now I am completely alone.”
– Chapter 28, Page 236
Well-written with a delicious dose of descriptive setting and metaphor, The Smallest Thing is a lesson in growing to recognize more than just a personal struggle when disaster strikes the people closest to you.
Hope Rains Sullivan is living the dream—a successful husband, two beautiful young boys, and a charming home in Northern California. She should be happy. She almost convinced herself she was, until Adrian came along.
Adrian appears to be everything her husband isn’t. He works with his hands, and is even willing to use them in a fight. He’s sexy, strong, and fit, with warm brown skin that alludes to his Spanish background. Best of all, he lives for spending time with his kids. Feeling alone in her marriage, Adrian offers her a way out.
Hope’s affair is just the beginning. Her journey inward will require untangling her complicated past and surviving an astonishing revelation. Her lover is not who he pretends to be.
She’s searching for her happily-ever-after, and no matter how painful the journey, she’ll find what she’s been looking for all along—the chance to choose Hope.
Choosing Hope is a harrowing story of passion and deceit, the things we do for love, and the rabbit holes we tumble into while chasing elusive fairy-tale endings. Dark around the edges with a shocking twist that I didn’t see coming, this is the kind of book you’ll be passing around to your friends so you can talk about it. Holly Kammier delivers romance, suspense, and a strong, smart heroine who turns out to be nobody’s victim. Don’t miss this one!
– Kat Ross, best-selling author of The Midnight Sea
Holly Kammier is a former journalist an UCLA honors graduate who has worked everywhere from CNN in Washington, D.C. and KCOP-TV in Los Angeles, to the NBC affiliate in small-town Medford, Oregon. She is the author of Kingston Court, her debut novel.
Choosing Hope, her soon-to-be released second novel, is a cross-over to Kingston Court with overlapping characters and locations.
The California native and mother of two lives in San Diego, California, close to her family and friends. Holly is the Co-Founder of Acorn Publishing and is available for speaking engagements and content editing.
Keary Taylor is the USA TODAY bestselling author of over twenty novels. She grew up along the foothills of the Rocky Mountains where she started creating imaginary worlds and daring characters who always fell in love. She now splits her time between a tiny island in the Pacific Northwest and Utah, with her husband and their two children. She continues to have an overactive imagination that frequently keeps her up at night.
Uncanny Sarah Fine Published by: Skyscape Publication date: October 3, 2017 Genres: Science Fiction, Thriller, Young Adult
Two sisters. One death. No memories.
Cora should remember every detail about the night her stepsister, Hannah, fell down a flight of stairs to her death, especially since her Cerepin—a sophisticated brain-computer interface—may have recorded each horrifying moment. But when she awakens after that night, her memories gone, Cora is left with only questions—and dread of what the answers might mean.
When a downward spiral of self-destruction forces Cora to work with an AI counselor, she finds an unexpected ally, even as others around her grow increasingly convinced that Hannah’s death was no accident. As Cora’s dark past swirls chaotically with the versions of Hannah’s life and death that her family and friends want to believe, Cora discovers the disturbing depths of what some people may do—including herself.
With her very sanity in question, Cora is forced to face her greatest fear. She will live or die by what she discovers.
I did not anticipate the wind. on the sidewalk, it made jackets flap and leaves rustle. Seven stories up, it threatens to throw me right over the edge.
Is that what I want?
I’m not good at knowing what I want—that’s what she said to me, and it turns out she was right. This will be my last decision, and it could be my worst or my best, but I don’t know if it will be something I want.
But wanting isn’t relevant now.
My shoes scrape over cement as i stand on the roof’s ledge. I am battered. Faltering. My arms are out, my fingers splayed. I turn around and face the school’s security cannies, who have formed a semicircle around me on the roof as they slowly approach. outdated, outmoded, neo-plastic skin, expressionless. They are here to stop me, or at least detain me until emergency services reach us, but like me, they are not immune to gravity. If I go over, they can’t save me.
They’re programmed to save me. They won’t feel a thing if they fail, though. They can’t. That’s the difference between us.
Looking at their blank eyes fills me with a sense of the inevitable.
I can’t remember not existing, whatever happened before I became me. I don’t think it hurt, not like this. Perhaps I’m wrong, though. Maybe I’ve been here before.
I crane my neck to see past the machine men, searching for the one face I need, one I know I’ve already seen for the last time. She isn’t here. Of course she isn’t. She can’t be.
I want to see her one last time. After everything I did, she wouldn’t look at me with anything other than sorrow or maybe hate or pity. But still, I want to see her.
There. That’s one thing I know I want. even if it were relevant, it still doesn’t matter. I inch back a little. It would be easier for the wind to take me. I’d prefer that over doing this myself. But the cannies keep getting closer, and the wind is still now. Unhelpful.
“This is my choice,” I say loudly. “I’m doing this of my own free will.”
Is this what she wanted? I think this might be what she wanted.
It’s all tangled up in her, and she’s not here. I’ll never see her again. I’ll never see her again, and it’s because of the choices I made.
I close my eyes. It’s time.
About the Author
Sarah Fine was born on the West Coast, raised in the Midwest, and is now firmly entrenched on the East Coast. When she’s not writing, she’s working as a child psychologist. No, she is not psychoanalyzing you right now.
Renegades K. Gorman
Publication date: September 15, 2017
Genres: Adult, Science Fiction
The Shadows have taken over, and she is the only one who can fight back.
Genetically engineered from birth, Karin Makos’s powers have made her the Alliance’s most wanted person. With her sister still missing, and only a cryptic notebook left behind for clues, the mystery of her past is going to take a lot more time and resources than they have to unravel it.
And there’s a bigger problem looming. Keeping their promise to heal Ethan’s stepfather and the rest of the people on the Ozark puts them right past Caishen station and its Alliance allies—and there might be another force on their tail.
After the crew split apart on a wild chase that puts Karin in the hot seat, it’ll take all of their strength and ingenuity to bring them back together. With enemies gathering in the wings, a desperate, heavy-handed station commander hard on their tail, and the Shadows an ever-present threat, they must race against the odds and scramble to fight their way out.
Don’t miss the release day 99¢ flash sale on Sept 30th!
Originally from the west coast of Canada, K. Gorman has switched to the west coast of Taiwan, where she broadcasts a steady stream of Science Fiction and Fantasy stories. When not writing, she enjoys long rides through Taichung on U-Bikes, Twin Peaks and Battlestar Galactica marathons, and is slowly turning Final Fantasy VIII’s Squall into a card-playing god before she runs through the rest of the game.
I Stop Somewhere T.E. Carter
Published by: Feiwel & Friends
Publication date: February 27, 2018
Genres: Contemporary, Young Adult
Ellie Frias disappeared long before she vanished.
Tormented throughout middle school, Ellie begins her freshman year with a new look: she doesn’t need to be popular, she just needs to blend in with the wallpaper.
But then, the unthinkable happens, and Ellie is trapped after a brutal assault. She wasn’t the first victim and now she watches it happen again and again. She tries to hold on to her happier memories in order to get past the cold days, waiting for someone to find her.
The problem is, no one searches for a girl they never noticed in the first place.
The Lovely Bones meets All The Rage in a searing, heartbreaking contemporary story of a lost teenager, and the town she leaves behind. T.E. Carter’s stirring and visceral debut not only discusses and dismantles rape culture but also makes you slow down and think about what it is to be human.
From the Author: The story of the cover design and why it couldn’t be pink
Admittedly, I had very little involvement in the cover design for the novel, since it was handled internally at Macmillan. However, there are so many elements that the cover just got so right about the novel itself, that it’s a really interesting topic of discussion.
My editor did ask during our second round of edits if I had any feedback or specific requests. I didn’t, to be honest, except that I knew the cover shouldn’t be pink. There’s a recurring theme in the novel about what makes a girl and I worried that this would lead a designer to pink, and I don’t like the automatic linking of girls to pink. I don’t mind pink, but Ellie (the main character) doesn’t like pink, and one of the key themes of the book is that defining a girl is about more than stereotypes or this idea of what a girl should be. So pink felt somewhat antithetical to that. At the same time, I then thought maybe pink would be ironic and could be effective, so I wasn’t too useful in providing insight into the design process.
When they first showed me the cover, I fell in love with it aesthetically, but I also found myself a little confused. It was nothing like I had expected. I knew it was a cover that I would be drawn to, and it does make sense for the book when you stop and think about it, but I figured that the primary setting – an abandoned house – would play a role in the design. When there were no houses, I was a bit taken aback.
After thinking about it, though, I realized an abandoned house would have hinted at the book being horror or a thriller, and it’s not. It’s firmly rooted in contemporary realism, so combining a thriller-looking cover with a summary that’s a bit mysterious may actually have worked against getting the book to the target reader.
What I love about this cover is that it’s black, which clearly illustrates that it’s not a light read. It’s not a light or easy story and I like knowing what kind of book I’m getting when I pick up a book. The cover is also symbolic of so many aspects of the story. The leaves are covered in frost, showing that they shouldn’t even be alive. But there are small flowers finding their way through anyway. It’s this idea of life fighting for a way, even when it’s impossible. Plus, it also speaks to the story, which does try to show that even in the darkest and coldest places, there can be small bursts of good.
I also did some research into the plant itself, which is stinging nettle, and discovered that the plant thrives in places where iron has been left to rust. The town where the book is set has seen better days and is full of abandoned factories; it is, in essence, “rusting.” In addition, the plant symbolizes being detached from your body and a lost soul, which is the entire premise of the book. After an assault, Ellie is trapped and trying to find her way back to life before. Stinging nettle also helps heal trauma in youth, especially in situations of low self-esteem, and both of these are key parts of Ellie’s character. According to http://www.beefieldsfarm.com/read/2016/03/stinging-nettle, “[stinging nettle] is also useful for those whose body/soul fusion has been incomplete, or is damaged due to trauma,” and this could not speak more to the novel and its themes!
Finally, there’s the title. It’s so bold and the book is very much about Ellie not having a voice and not feeling like she’s even part of the world she lives in. As the summary says, she was a girl no one noticed, but the title refuses to go unnoticed. I like this, as it’s almost like Ellie screaming from the darkness and demanding to be heard for once.
So, while I had little say in the cover, it really does capture everything about this story beautifully and I think it speaks volumes to what a reader can expect.
Excerpt from I Stop Somewhere:
Later, I remember how my dad would stand in my doorway, watching me. Trying to reach me across so little space, yet so much. He stared at me like you look at a museum display or a creature in the zoo. I was the coelacanth and he was awed by my strangeness.
“I brought you something,” he said, holding a bag out across the threshold to my bedroom.
My room was an experiment. Posters and magazine pages and images covered the walls and the vanity and my dresser. All the people I wanted to be, wanted to look like. They were the people who mattered. I stared at myself in the mirror, hating how I looked. I hated how the curves made the boys poke me through the back of my chair in class, and how they made the girls call me fat. I hated how far the people in the magazines were from me. I thought I would never count, because I wasn’t them.
“What is it?” I asked my dad, gesturing toward the bag he was holding.
“I thought you might like it.”
It happened every few nights. He’d show up, presenting an offering in a plastic bag. Makeup. Clothes. Hair bands. He tried. He tried and so I tried, but the discount stickers said it all.
They were marked down, because the lipstick was too orange. The tank top wasn’t cut right. The hair pins would have been perfect for a girl my age – ten years ago. But I wore them for him and he smiled, because he didn’t know the difference.
“Thanks, Dad. I love it,” I lied.
“You’re beautiful, Ellie.”
I was a markdown girl.
I did know the difference.
T.E. Carter was born in New England and has lived in New England for pretty much her entire life. Throughout her career, she’s done a lot of things, although her passion has always been writing. When she’s not writing, she can generally be found reading classic literature, obsessing over Game of Thrones (she’s one hundred percent Team Lannister), playing Xbox, organizing her comic collection, or binge-watching baking competitions. She continues to live in New England with her husband and their two cats.
Into the night suddenly disappear two teenage sisters, Emma and Cass, leaving an empty car on the beach and a single pair of shoes in the surf. Three years later, Cass alone returns to her parents’ home with a story of captivity on an unidentified seven-acre island, and a driving urgency to find her sister who has since given birth. In Emma in the Night, author Wendy Walker carefully weaves a psychological thriller that is even more carefully unwound in a way that reveals only bare hints of resolution until all is immediately exposed.
As the narration switches between Cass’s first-person recounting and a third-person limited overlook of FBI Forensic Psychologist, Dr. Abby Winter, details of Cass and Emma’s home lives before their disappearance come into light. Their mother is revealed to be a pathological narcissist who has spent years competing with her daughters for attention, power, and validation, as her girls have grown in beauty. As the oldest daughter who has realized the threat that she is to her mother, Emma has the stronger love-hate relationship with their mother, and Cass takes refuge in Emma’s shadow as a “bird on the battlefield” with an unrealized, yet growing desire to see her mother defeated.
Cass’s experience growing up with a narcissistic mother is reflected in Dr. Winter’s character, whose mother was also a narcissist. Having investigated Emma and Cass’s disappearances since the beginning, Dr. Winter brings a contrasted, systematic aspect to the novel’s premise of psychosis, while remaining approachable to the reader by her own emotional investment in the case. As Dr. Winter learns of Cass’s childhood, she remembers her own, and is ultimately able to discover Emma’s whereabouts by understanding the dynamic in Cass’s household.
Throughout the novel, Cass is repeatedly put into situations requiring either swift decisions or well-thought-out planning, nothing in-between; Cass is forced to quickly become an adult, and learns that survival in her environment requires rigid observation, manipulation, and sacrifice. Wendy Walker presents the argument that people will believe what they want to believe, and paired with Walker’s working knowledge of the causes and effects of narcissism, Emma in the Night allows its audience to keep guessing at what the truth behind the girls’ disappearance and captivity might be.
ISAN Mary Ting
Publication date: May 1, 2018
Genres: Dystopian, Science Fiction, Young Adult
The world has changed.
Scientists warned it would happen.
Meteors devastated the Earth. World Governments developed plans to help surviving citizens. The United States disbanded and salvageable land was divided into four quadrants—North, South, East, and West—governed by The Remnant Council.
Struggling to survive, seventeen-year-old Ava ends up in juvenile detention, until she is selected for a new life—with a catch. She must be injected with an experimental serum. The results will be life changing. The serum will make her better. To receive the serum Ava agrees to join a program controlled by ISAN, the International Sensory Assassin Network.
While on a training mission, she is abducted by a rebel group led by a guy named Rhett, and is told that not only does she have a history with him, but her entire past is a lie perpetuated by ISAN to ensure her compliance. Unsure of who to trust, Ava must decide if her strangely familiar and handsome captor is her enemy or her savior—and time is running out.
International Bestselling Author Mary Ting/M. Clarke resides in Southern California with her husband and two children. She enjoys oil painting and making jewelry. Writing her first novel, Crossroads Saga, happened by chance. It was a way to grieve the death of her beloved grandmother, and inspired by a dream she once had as a young girl. When she started reading new adult novels, she fell in love with the genre. It was the reason she had to write one – Something Great. Why the pen name, “M. Clarke”? She tours with Magic Johnson Foundation to promote literacy and her children’s chapter book, No Bullies Allowed.