From Publishers WeeklyWhen naive computer-nerd and millionaire Quentin Fears meets the woman of his dreams at a posh Washington, D.C., party and then marries her, he thinks his life is complete. But in this low-key horror novel, appearances can't be trusted and people aren't always in control of their actions. Although Madeleine seems quite sophisticated, there are deficits in her memory and her background is vague. She claims a large, well-to-do family but invites no relatives to the wedding. When Quentin finally meets his in-laws at their palatial Upstate New York mansion, they strike him as eccentric, almost as cartoons of real people. The domineering grandmother, whom Madeleine hates, sits in a trance, eyes closed, refusing to speak. There are hints of past child abuse?and of the possibility that a young boy may have been murdered. Why do so many of Madeleine's relatives have names identical to those buried in the family cemetery? And why doesn't Madeleine leave any footprints in the snow? Although the story moves toward a powerful climax, its primary pleasures are more subtle: strong character development and complex motivations, a mystery to solve, the discovery of wheels within wheels. It's rare that Card, renowned for his science fiction (see the review of his Children of the Mind, below), switches genres. But when he does, here as in his Lost Boys (1992), there's little lost and a rare pleasure gained. $50,000 ad/promo; author tour; U.K., translation, first serial and dramatic rights: Barbara Bova. Copyright 1996 Reed Business Information, Inc. From Library JournalAt age 11, Quentin Fears is devastated by his older sister Lizzy's death. Subsequently, he grows up to be a lonely man, obsessed with memories of Lizzy. He becomes extremely wealthy, yet everything he does centers around Lizzy. He even picks a wife who reminds him of her. Madeleine, the woman with whom he falls in love and marries in a matter of weeks, turns out to be an apparition invented by an evil witch. Once the story turns to Quentin's wife and her family, the plot degenerates into the script of a B-movie, with wild explanations for the comings and goings of ghosts and the mysterious treasure box that Madeleine wants her new husband to open. Card, the author of many highly acclaimed works (e.g., Children of the Mind, Tor, 1996) is more handy with quick and witty dialog than story content. There is not enough humor here it to be funny and not enough horror or fantasy for it to be either. Recommended only for large collections.?Shirley Gibson Coleman, Ann Arbor Dist. Lib, Mich. Copyright 1996 Reed Business Information, Inc.

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