A REESE'S BOOK CLUB x HELLO SUNSHINE Selection
An Amazon Best Mystery/Thriller of the Year
Named a Best Book to Read by Time, Entertainment Weekly, Bustle, Buzzfeed, The Daily Beast, The Guardian, Refinery29, and more.
“It’s a thrilling mystery that will leave you wondering which characters you can and can’t trust . . . There’s a twist at the end that still keeps us up at night, it's THAT good.” —Reese Witherspoon (A Reese’s Book Club x Hello Sunshine Selection)
“[A] splendid art–world thriller . . . Ms. Hummel captures characters in a single stroke . . . Having herself worked in a museum, she speaks with authority of that sealed world . . . Still Lives is both savvy and lyrical—the perfect beach read for either coast.” —The Wall Street Journal
“While Still Lives is a deeply affecting examination of how our culture fetishizes female victims of crime—be it in art, news, or publishing—it will also have readers feverishly turning pages to discover the fate of engaging characters who are more than symbols of what’s wrong or right about Los Angeles. It’s a stunning achievement for a writer who perfectly captures an outsider’s ambivalence about the city’s pluses and minuses, and most notably its sensational crimes and the dark angels we make of its victims.” —Los Angeles Times
“This is not only a satisfying mystery, but also an ambitious, intelligent and often uncomfortable study of gender, violence and art.” —The Guardian
“[A] mysterious page turner.” —TIME
“Mystery and murder cloud this feminist story set in the heart of Los Angeles’ art scene. When an avant–garde artist goes missing on the day her groundbreaking exhibition opens, the story spins out in many provocative directions.” —Entertainment Weekly
“A delicious Los Angeles noir that combines the glitz and glamor of fine art with the grit and grime of crime and sexual objectification, Still Lives is a thought–provoking novel packaged in one hell of a mystery.” —The Daily Beast
“[A] suspenseful and profound novel . . . This suspenseful crime novel has echoes of far more profound questions than 'who done it?' though: What is the role of women in the art world? Objects? Artists? How do we view women in our society at large? What is truly dangerous? SoCal readers will appreciate Hummel’s insider view of L.A., too. Not just her portrayal of the sparkling L.A. art scene, informed by her days working at MOCA, but a deep understanding of the 'real' city: sun–bleached, peeling reality. “ —Whittier Daily News
“Reese Witherspoon's new book club pick is a dark, feminist thriller, and you're not going to want to miss it.” —Bustle
“Maria Hummel's Still Lives is moody and restless, propelled by a gradually intensifying sense of unease. Hummel envelops the reader in the LA art scene . . . [H]er journey illuminates the misogyny which allows a culture to turn murdered women into objects for consumption.” —Buzzfeed
“Maria Hummel’s novel is classic noir made modern.” —Refinery29
“Within Still Lives, the new novel by Maria Hummel (Motherland, Wilderness Run), is a taut thriller with enough compelling elements for a propulsive book . . . Still Lives is an effective thriller with a delectable final 100 pages. It reaches an addictive pitch that all books of this ilk aspire to. The more Hummel settles into the plot machinations the better the novel gets, as the hazy ideological questions and confusing passages fall away . . . Hummel engages with complicated and challenging questions about the meaning and impact of art that depicts violence, and she writes a hell of an ending.” —Los Angeles Review of Books
“The careful characterizations of the players . . . mean that, as the mystery unfolds to reveal them as suspects or victims, the reader feels deep empathy that comes from perceiving them as real people, not plot devices. Hummel builds visceral intimacy around 'women’s oppressive anxiety about [their] ultimate vulnerability' in this often uncomfortable tale about the media’s fetishistic fascination with the violent murders of beautiful women.” —Publishers Weekly (starred review)
“[A] spellbinding new novel . . . No doubt comparisons to Raymond Chandler’s best work will rain down upon Still Lives, dotted as it is with trenchant observations of LA and the human condition. Like Chandler, Hummel is capable of limning out a ripping yarn replete with high fashion, high finance and high society . . . And not unlike another master of the mystery, Erle Stanley Gardner, Hummel includes an intellectually satisfying Perry Mason moment that also provides an interesting twist. It would be damning with faint praise to call Still Lives a contender for best beach read of the year—like calling Pablo Picasso a really good painter—but Still Lives is both that and so much more.” —BookPage
“In this taut take on noir, misogyny, and the art of responsible storytelling, Hummel (Motherland, 2014, etc.) balances the glitz and glam of the Los Angeles art world with the town tourists don’t often see, from peeling, postwar bungalows to skid row tent cities and suffering junkies . . . This is a whip–smart mystery and a moving meditation on the consumption of female bodies all rolled into one.” —Kirkus Reviews
“Hummel’s novel ultimately offers an intriguing insider’s view into a high–stakes, turbulent industry, from peculiar artists to fabulous exhibitions. With deliberate pacing increasing the tension, the story line revolving around the public’s fascination with graphic crimes against women serves as a chilling reminder that such violence continues to occur in many forms.” —Library Journal
“Hummel . . . presents a polished, droll, and provocative art–world thriller . . . With a cast of strong and complicated female characters, headed by a determined, reckless, funny, and imperiled amateur sleuth, Hummel crafts a shrewd and suspenseful inquiry into womanhood and the dark side of the art market, punctuated by striking variations on identity, portraiture, and 'still lives.'“ —Booklist
“Still Lives offers its readers that delicious combination of entertainment and brilliance. It's at once profound and suspenseful, and while the plot kept me up nights (the ending had me gasping in surprise!), the book as a whole asks important questions about art and representation and how we, as a culture, objectify and endanger and victimize women. Maria Hummel has written a remarkable, relevant, and necessary novel.” —Edan Lepucki, author of Woman No. 17 and the New York Times bestselling California
“There’s nothing I like better than a well–written page–turner about the art world, and Maria Hummel has delivered this and more with her new literary thriller, Still Lives. Flawed characters abound as do clever plots and subplots along with irresistible peeks into hidden chambers of the L.A. art scene. Riveting.” —B.A. Shapiro, New York Times bestselling author of The Art Forger and The Muralist
“A gripping mystery set inside the world of contemporary art, Still Lives is the kind of book we all hope to stumble upon: the perfect combination of terrific prose and compelling storytelling. Maria Hummel has delivered the smartest, most original page–turner I've read in a long time.” —Maggie Shipstead, author of Astonish Me and the New York Times bestselling Seating Arrangements
04/15/2018
In Los Angeles, the talented staff at Rocque Museum feverishly prepare for avant-garde artist Kim Lord's opening night. Lord's controversial art showcases real women who have died violently, such as Nicole Brown Simpson and Elizabeth Short, the Black Dahlia. Museum editor Maggie Richter hopes the gala will reinvigorate the declining finances of this revered institution, but as the limos begin to arrive, it becomes embarrassingly clear that Lord will not be present at her own exhibition. When Lord's ex is arrested for her murder, Maggie uses her journalistic skills to delve into the deep recesses of the art world and soon finds her own life at risk. After a sluggish start, Hummel's (Motherland) novel ultimately offers an intriguing insider's view into a high-stakes, turbulent industry, from peculiar artists to fabulous exhibitions. With deliberate pacing increasing the tension, the story line revolving around the public's fascination with graphic crimes against women serves as a chilling reminder that such violence continues to occur in many forms. VERDICT For general fiction collections and readers fascinated by the contemporary art world.—Gloria Drake, Oswego P.L. Dist., IL
2018-03-20
When a provocative painter goes missing on the opening night of her show, a museum copywriter falls back on her investigative roots.Kim Lord enjoys shocking her audiences, and Still Lives, her latest exhibition for LA's high-flying Rocque Museum, is no exception. Drawing on media coverage of murdered women, Lord produces a grisly set of paintings depicting the slain forms of Judy Ann Dull, Nicole Brown Simpson, and the Black Dahlia. The exhibition is "an indictment of our culture's obsession with sensationalized female murders," and Maggie Richter, the museum's in-house writer/editor, can barely stomach it—for more reasons than one. A few months earlier, her live-in boyfriend, the gallerist Greg Shaw Ferguson, left Maggie for Lord, a humiliation she's still struggling to live down. When Lord fails to show for her big opening night, everyone suspects foul play—and Greg. But will Maggie be able to uncover what really happened in time? And who is she really trying to save by digging into Lord's disappearance? In this taut take on noir, misogyny, and the art of responsible storytelling, Hummel (Motherland, 2014, etc.) balances the glitz and glam of the Los Angeles art world with the town tourists don't often see, from peeling, postwar bungalows to skid row tent cities and suffering junkies. There's a full cast of supporting characters, including Kevin, an earnest East Coast reporter covering the gala; Hendricks, a private investigator who seems to know too much about Maggie; Yegina, Maggie's talented and ambitious best friend; and a rotating gallery of suspicious art world collectors, carpenters, curators, and crew. At times the interpersonal dramas are larger-than-life, but this literary mystery has larger-than-life ambitions, too. "I hate this artwork," Maggie thinks, standing in the gallery, fretting about Lord's disappearance. "I hate the abject powerlessness it projects. I hate it because it reminds me there is an end for women worse than death." But Lord, through the careful plotting of Hummel, is determined to make you look.This is a whip-smart mystery and a moving meditation on the consumption of female bodies all rolled into one.
