Kirkus
Copyright © Kirkus Reviews, used with permission.

Against the backdrop of the 1918 influenza epidemic, two sisters offer refuge to an abused child.Dallas first-person narrator is 24-year-old Lutie, short for Lucretia, a fashion illustrator for a downtown department store that caters to Denvers upper class. Lutie lives with her older sister, Helen, who, as a nurse, is dealing firsthand with the misery attending the epidemic. As the novel begins, Lutie, among a small, fearful throng, witnesses the death throes of a soldier on a public street. This is only one instance of Dallas graphic depictions of the course of the influenza pandemic in one city, many of which resonate todayalthough not necessarily the death wagons patrolling the streets or the widespread acceptance of public health measures. Lutie arrives home to find Ronald Streeter, the sisters downstairs tenant, stabbed to death in the kitchen, Helen standing over him with an ice pick in hand as his 10-year-old daughter, Dorothy, cowers nearby. We soon learn that drunken, depraved Streeter abused his wife, Maud, and had raped Dorothy, also offering her to his crony, Mauds equally depraved brother. Helens fiance, Gil, a medical student also overworked during the pestilence, helps remove the body to a vacant lot, hoping one of the wagons will dispose of it along with the anonymous remains of flu victims. As the sisters make a home for the traumatized Dorothy after Maud dies of flu, complications pile up. Long-suppressed secrets emerge as the uncle tries to interfere with the sisters adoption case. The parents of Peter, Luties fiance, who is killed in the war, offer staunch help. Dallas makes a worthy effort to use the parlance of the day, erring on the side of formal, somewhat stilted speech on the parts of all but the guttersnipe characters. Aside from these obvious villains, the characters are well intentioned and unfailingly kind, including two hard-boiled detectives. The novel is seeded throughout with tragedy, but the overriding message is hope, and the overarching adversary is not human but a virus.Vivid scenes from Americas forgotten pandemic. Copyright Kirkus Reviews, used with permission.

Kirkus
Copyright © Kirkus Reviews, used with permission.

Against the backdrop of the 1918 influenza epidemic, two sisters offer refuge to an abused child. Dallas’ first-person narrator is 24-year-old Lutie, short for Lucretia, a fashion illustrator for a downtown department store that caters to Denver’s upper class. Lutie lives with her older sister, Helen, who, as a nurse, is dealing firsthand with the misery attending the epidemic. As the novel begins, Lutie, among a small, fearful throng, witnesses the death throes of a soldier on a public street. This is only one instance of Dallas’ graphic depictions of the course of the influenza pandemic in one city, many of which resonate today—although not necessarily the “death wagons” patrolling the streets or the widespread acceptance of public health measures. Lutie arrives home to find Ronald Streeter, the sisters’ downstairs tenant, stabbed to death in the kitchen, Helen standing over him with an ice pick in hand as his 10-year-old daughter, Dorothy, cowers nearby. We soon learn that drunken, depraved Streeter abused his wife, Maud, and had raped Dorothy, also offering her to his crony, Maud’s equally depraved brother. Helen’s fiance, Gil, a medical student also overworked during the pestilence, helps remove the body to a vacant lot, hoping one of the “wagons” will dispose of it along with the anonymous remains of flu victims. As the sisters make a home for the traumatized Dorothy after Maud dies of flu, complications pile up. Long-suppressed secrets emerge as the uncle tries to interfere with the sisters’ adoption case. The parents of Peter, Lutie’s fiance, who is killed in the war, offer staunch help. Dallas makes a worthy effort to use the parlance of the day, erring on the side of formal, somewhat stilted speech on the parts of all but the guttersnipe characters. Aside from these obvious villains, the characters are well intentioned and unfailingly kind, including two hard-boiled detectives. The novel is seeded throughout with tragedy, but the overriding message is hope, and the overarching adversary is not human but a virus. Vivid scenes from America’s forgotten pandemic. Copyright © Kirkus Reviews, used with permission.

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From Barenbaum, author of Barnes & Noble Discover pick A Bend in the Stars, Atomic Anna features a renowned nuclear scientist who is sleeping as Chernobyl melts down in 1986 and rips through time to meet her estranged daughter Molly in 1992, shot in the chest and begging her to go back and change the past (50,000-copy first printing). In Bird's Last Dance on the Starlight Pier, Evie Grace Devlin tries to leave vaudeville behind to become a nurse in 1930s Galveston, TX, but encounters setbacks and instead gets caught up in the shady world of dance marathons; following the Dublin International Literary Award long-listed Above the East China Sea (75,000-copy first printing). In Spur Award-winning Dallas's 1918 Denver-set Little Souls, sisters Helen and Lutie care for the daughter of a flu victim, and an abusive man's murder is covered up by leaving his body on the streets with all the other corpses to be collected (30,000-copy first printing). PEN/Robert W. Bingham finalist Llanos-Figueroa explores 19th-century Puerto Rican plantation society through Pola, A Woman of Endurance, captured in Africa and brought to Puerto Rico to bear babies subsequently taken from her and enslaved (40,000-copy first printing). First in a tetralogy, Scurati's internationally best-selling, Strega Award-winning M.—short for Mussolini—explores the rise of fascism in Italy (40,000-copy first printing). In The Good Left Undone, the New York Times best-selling Trigiana returns to Italy, where Matelda, the dying matriarch of a Tuscan artisan family, reveals her mother's love of the Scottish sea captain that fathered Matelda during World War II.