Praise for The Eyes Are the Best Part

“Violent, smart, gruesome and wildly original, this novel pulls readers into a horrific world of murder and cannibalism while also critiquing misogyny, exploring Asian fetishization and stereotypes, sharing what it’s like to navigate two cultures and telling a touching story of a family in turmoil.” —New York Times Book Review
 
“[An] inventive… terrifying tale of misogyny, Asian fetishization, and cannibalism.” – TIME magazine, 100 Must-Read Books of 2024

"I was enticed from the first line and entertained throughout. The Eyes Are The Best Part is a quirky, engaging read."—Oyinkan Brainthwaite, bestselling author of My Sister, the Serial Killer
 
“The perfectly executed pacing ensnares readers even as the story’s palpable anxiety evolves into repulsion, daring them to pull their eyes away. Ji-won will stay with readers whether they want her to or not. With obvious nods to the serious issues that underpin Toni Morrison’s The Bluest Eye, and clearly inspired by Gillian Flynn’s seminal Gone Girl, Kim has written a novel that every library needs to own.” —Library Journal, starred review

“A tense, harrowing nightmare of a novel. Monika Kim gives us unraveling sanity, grotesque obsession, and the suffocating ignorance of toxic men. A terrific debut! I can’t wait to see what she does next!” —Christopher Golden, New York Times bestselling author of The House of Last Resort and Road of Bones

“Obsessive, grotesque, and never predictable, this is a horror debut to sink your teeth into.” —Emily M. Danforth, bestselling author of Plain Bad Heroines

“Visceral, disgusting, glorious. I loved this book and every character in it. Monika Kim’s sentences are superb, and I was riveted and nauseated from the very first page. Keep your eyeballs fixed on Kim, she’s without a doubt one to watch!” —CJ Leede, author of Maeve Fly

“The Eyes Are the Best Part is part fever dream, part downwards spiral that masterfully explores the pressures of being an elder sibling, the turbulence and pain of fractured families, race and misogyny, and immigration. It tackles the most difficult parts of trauma and Asian womanhood through a narrative that is messy, complicated, and above all, gut wrenching. Kim has written a character who readers will love, hate, and will want to hug tight and never let go.” —Ai Jiang, Nebula finalist and author of Linghun and I Am AI

“A book that does more than grab hold; this debut will impale you. An obsessive, undefinable wonder, Monika Kim shows that you only taste what you're willing to take. Suspenseful horror that is love at first sight.” —Hailey Piper, Bram Stoker Award-winning author of Queen of Teeth
 
“I savored every moment of this suspensefully deranged tale, all the way up to its bloodcurdling conclusion. Monika Kim is an exciting new entrant to the genre, and I am ravenous for what she's planning to serve up next.” —Victor Manibo, author of The Sleepless and Escape Velocity

“A deliciously disturbing dive into a mind warped by pain, anger, and a most unusual craving.” —Johnny Compton, author of The Spite House

“An immersive tumble into darkness. Monika Kim has crafted a terrifying examination of the malevolence of bigotry and misogyny along with an unforgettable heroine. I couldn’t stop reading.” —Kristi DeMeester, author of Such a Pretty Smile

“The Eyes Are the Best Part is a suspenseful ride, cranking up the tension as Ji-won takes ever greater risks to satisfy her cravings. Bloody, angry, and vengeful, it skewers expectations at every turn.” —Kerstin Hall, author of Star Eater
 
“Kim's talent buoys her tale. . . and distinguishes her as a writer to watch.” —Publishers Weekly
“A new voice in horror tells a gripping psychological story about how one woman is driven to do the unthinkable . . . Horror fans will enjoy getting to know this new author, and readers of thrillers will enjoy the unreliable narrator and the pace.” —Booklist
 
“Monika Kim’s bold, brutal novel The Eyes Are the Best Part sears with feminine rage and unflinching body horror . . .[It] bites a chunk out of the horrors of being young and marginalized, licking its lips all the while.” —Foreword Reviews

2024-05-17
Men—not the woman who murders them—are the objects of horror in this debut novel.

The story opens with a vivid description of the protagonist’s mother tearing apart a fish she has just cooked and horrifying both her daughters by pulling out an eye, holding it aloft, and eating it with exaggerated relish. It’s an arresting tableau and one that will—as you might guess from the title—take on greater significance as the narrative progresses. This is also a rare moment of pleasure for a woman whose world is falling apart after her husband abruptly left her, and this betrayal by a man will also echo throughout the book. Ji-won, the narrator, is in her first year of college. She’s struggling academically and socially. When a white guy named Geoffrey seems eager to get to know her, she neither discourages him nor encourages him. Her reaction to her mother’s new boyfriend, George—another white guy—is entirely straightforward: She loathes him, and his arrival is something of a psychic turning point. Her loathing turns into nightmares about blue eyes, and Ji-won turns into a murderer with a desperate need to devour human eyeballs. There will no doubt be readers who get a kick out of this book simply because it’s a feminist revenge fantasy. But if the concept alone isn’t enough to hold your attention, there’s not much else on offer here. The pace is leaden—until the final act, which feels rushed and truncated. Geoffrey is straight caricature; a dude who is this emphatic about his feminism has to be a creep. George is also rather broadly depicted. It’s only fair to say that his ignorance, bigotry, and general terribleness are believable but, as a villain, he doesn’t have enough depth to make him interesting. Neither does Ji-won, and that’s probably this book’s greatest weakness. Kim does very little to help us understand why, exactly, this young woman turns murderous. Young women all over the world deal with terrible men every day without going on a cannibalistic killing spree. Her transition from aimless and unhappy college student to devious criminal mastermind is equally perplexing.

Tantalizingly sensationalistic premise, disappointing execution.