Chuck Wendig (Blackbirds; 2012) returns with a new Miriam Black adventure.
Encompassing the same subversive vibe as its predecessor, Mockingbird begins with the irrepressible Miriam Black taking a stab at domestication.
Now residing at a permanent address in the form of a double-wide, moored in an area rife with tweakers and dirt bags, Miriam passes the time as a cashier in a local sundries store. With her gentle-giant, Louis, on the road most of the time, and her nagging, obnoxious boss, Peggy, breathing down her neck everyday, it's no shock that Miriam begins to feel contained.
As a child, young Aoife showed promise of being a skilled mapmaker. After experiencing the incredible fulfillment it gave her, she rebels against her fate of becoming a simple wife, mother, and domestic—a gender prescribed internment that takes very little of a woman’s true self into account—negotiating instead for an apprenticeship.
Not only does she yearn to have freedom and privileges—a sin in her mother's eyes—but Aoife also covets the love of Wyl, a prince promised to another.
On her 19th birthday, Zora Adams looks on as her mother gets ready for a date. Dressed like her favorite celebrity, Judy Garland, her mother’s promise to be home in time to cut the cake falls on deaf ears—mainly because Mama’s already slurring and there is no cake.
After being orphaned, Fia and her older sister Annie find themselves at a special school.
With promises of a good education and medical assistance for Annie, Fia agrees to attend the Keane School despite her entire body screaming that it’s wrong. Not long after their arrival, the girls realize that they’re nothing more than pawns in a dangerous game being played by the school’s owner.
David Anderson has been an agent of death—a grim reaper—for the past 60 years.
During his time in the Korean War, David humanely ended the lives of two badly suffering fellow soldiers and, after losing his own life the next day, found himself back on the battlefield collecting souls.