“O’Donnell’s finely drawn characters display the full palette of human flaws and potential. Told in the alternating voices of Marnie, Nelly, and Lennie, this beautifully written page-turner will have readers fretting about what will become of the girls.” (Booklist (starred review) )

“The sisters and Lennie narrate alternating chapters, moving the story along at a fast clip….The difference between the sisters in terms of personality and maturity puts them at odds despite their shared fear of discovery. But their resilience suggests hope for their blighted lives.” (Publishers Weekly (boxed review) )

“An unusual coming-of-age novel that features two sisters who survive years of abuse and neglect….The author’s experience as a screenwriter is most definitely apparent, as the reader always hears the voices and can visualize the dramatic, sometimes appallingly grim scenes. Recommended.” (Kirkus Reviews )

“The Death of Bees is completely addictive. A beautiful and darkly funny story of two sisters building a fantasy within a nightmare.” (Alison Espach, author of The Adults )

“The Death of Bees is compelling stuff, engaging the emotions from the first page and quickly becoming almost impossible to put down.” (Herald (Scotland) )

“As the action reaches a feverish climax…dark comedy is replaced by nerve-shredding tension…the reader is thoroughly caught up in the emotional trials and tribulations of two unlikely heroines….Warm without being cozy, explicit without being shocking, and emotive without being schmaltzy…a powerful coming-of-age tale…” (Scotsman )

“This vibrantly-imagined novel, by turns hilarious and appalling, is hard to resist.” (Daily Mail (London) )

“Mixing The Ladykillers with Irvine Welsh’s The Acid House… O’Donnell adeptly balances caustic humour and compassion.” (Guardian )

“The Death of Bees steadily draws you into its characters’ emotional lives.” (Financial Times )

“The most original and incredible piece of writing I’ve come across in years.” (Helen Fitzgerald, author of Dead Lovely )

“Warm without being cozy, explicit without being shocking, and emotive without being schmaltzy . . . a powerful coming-of-age tale.” (Scotsman )

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