From Publishers Weekly
Starred Review. Glowing with dark humor, Stuckey-French's fabulously quirky second novel (after Mermaids on the Moon) spotlights a wild would-be killer: Marylou Ahearn, a 77-year-old retired teacher in Memphis, Tenn. She's obsessed with killing Dr. Wilson Spriggs, who gave pregnant Marylou a radioactive cocktail in 1953 during a secret government study. Helen, the daughter Marylou gave birth to, died in 1963 from cancer. Accompanied by her Welsh corgi, Buster, and as "Nancy Archer" (the heroine of the 1958 movie Attack of the 50 Foot Woman), Marylou moves in 2006 to Tallahassee, Fla., where Wilson lives with his daughter, menopausal Caroline; her husband, Vic Witherspoon, who's contemplating an affair, and their children: 18-year-old Elvis-obsessed beauty Ava; 16-year-old science geek Otis, who's secretly building a nuclear breeder reactor; and overachieving, attention-deprived 13-year-old Suzi. As "Radioactive Lady," Nance creates mucho mischief for Wilson, but her revenge plans mutate after discovering the old doc has Alzheimer's, and dang it, she really likes his kinfolk. (Feb.)
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If revenge is a dish best served cold, then Marylou Ahearn’s feelings for Dr. Wilson Spriggs should, after 50 years, be just about frozen. But at age 77, Marylou realizes she’s running out of time if she wants to make Spriggs pay for his role in a 1950s covert government medical-research project that gave unsuspecting pregnant women like herself a radioactive cocktail that resulted in the premature cancer death of her eight-year-old daughter. Discovering that Spriggs now lives in Florida with his daughter and teenage grandchildren, Marylou abandons her Memphis home, moves to Spriggs’ neighborhood, and adopts the persona of Nancy Archer, best known to B-movie fans everywhere as the infamous “50-Foot Woman.” Marylou/Nancy’s mission is to kill Spriggs, but the reality is that she’s just a nice little old lady, not an overly large woman with super powers. Instead, she decides to wreak havoc upon the lives of Spriggs’ family, to hilarious, and often sobering, ends in this broadly comic, yet essentially heartfelt, absurdist satire. --Carol Haggas