The last session A novel

Julia Bartz

Book - 2025

"When a catatonic woman shows up at the psychiatric unit, social worker Thea swears she knows her from somewhere. She's shocked to discover the patient holds a link to a traumatic time in her past. Upon regaining lucidity, the patient claims she can't remember the horrific recent events that caused her brain to shut down. Thea's at a loss-especially when the patient is ripped away from her as suddenly as she appeared. Determined to find her, Thea follows a trail of clues to a remote center in Southwestern New Mexico, where a charismatic couple holds a controversial monthly retreat to uncover attendees' romantic and sexual issues. Forced to participate in increasingly intimate exercises, Thea finds herself inching cl...oser not only to her missing patient, but also to tantalizing answers about her harrowing past. However, time is running out, and if she stays for the last session, she too might lose her mind...or worse"--

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Subjects
Genres
Thrillers (Fiction)
Psychological fiction
Novels
Published
New York : Emily Bestler Books, Atria 2025.
Language
English
Main Author
Julia Bartz (author)
Edition
First Emily Bestler Books/Atria Books hardcover edition
Physical Description
358 pages ; 24 cm
ISBN
9781982199494
Contents unavailable.
Review by Booklist Review

Social worker Thea is positive she recognizes the disheveled woman who appears in her psychiatric clinic. Determined to help the woman, who suffers from temporary amnesia, Thea discovers she is connected to a past trauma in Thea's own life. Before Thea can find out more, the woman is suspiciously removed from the clinic. Determined to find her patient, Thea follows a trail to New Mexico and infiltrates a retreat that guarantees romantic healing for all participants. The charismatic couple who operates the retreat seduce Thea into staying longer than necessary, and she soon finds herself trapped in delusional cult practices with no way to escape. Bartz's sophomore novel delivers a similarly propulsive pace to her first, The Writing Retreat (2023). Thea is repeatedly thrown into untenable situations, frequently caused by her trauma-informed decisions. There is a palpable sense of paranoia throughout, heightened by Thea's inner monologue and mental instability. Recommended for readers who enjoy intense psychological thrillers with unreliable narrators, such as titles by Ruth Ware, A. J. Finn, and Alex Michaelides.

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

The arresting latest from Bartz (after The Writing Retreat) blends spirituality, suspense, and a dash of sci-fi to tell the story of a woman who's roped into a dangerous cult. Thea, a 32-year-old social worker in New York City, has struggled with vivid dreams of life on another planet ever since she saw the fantasy film Stargirl as a teenager. After she finds herself inexplicably drawn to a Jane Doe at the psychiatric clinic where she works, Thea realizes the patient is actually Stargirl lead Catherine O'Brien. Then Catherine vanishes, and Thea becomes obsessed with tracking her down. With the help of a handsome PI, she pursues Catherine to an isolated area outside of Albuquerque, N.Mex., which is hosting a retreat for members of a bizarre organization called the Center for Relational Healing. Led by charismatic shamans Moon and Sol, the Center's rituals involve orgies and intense group therapy. Eventually, it begins to seem that the ceremonies are designed to convince a fevered Thea that she and Catherine are sisters from another world, and that she's destined to fulfill a world-changing prophecy--even if it kills her. Bartz keeps tensions high and answers behind locked doors as she immerses readers in the frightening daily power plays of cult life. It's a wild ride. Agent: Alexandra Machinist, CAA. (Apr.)

(c) Copyright PWxyz, LLC. All rights reserved
Review by Kirkus Book Review

A social worker with a traumatic past goes undercover to save a patient to whom she bears a strange resemblance. By day, Thea offers art therapy to patients in a New York psychiatric ward; by night, she drinks too much and obsesses about how she was groomed by her pastor as a teenager, and the impact his abuse continues to have on her life. When a catatonic patient is admitted to the ward, Thea is shocked and excited to discover that it's Catherine O'Brien, star ofStargirl, a movie that sparked a lot of her teenage fantasies, and who could almost be her twin. When Catherine is signed out from the ward by two people pretending to be her parents, Thea decides to follow a few breadcrumbs the former actor seems to have left her--most notably, a podcast recorded by people named Moon and Sol, who run something called the Center for Relational Healing in the New Mexico desert. Thea signs up for retreat at the CRH, and when she arrives, she's shocked to see Jonah, a guy with whom she'd nearly had a one-night stand back in New York. He says he's actually a private investigator hired by Catherine's family to find her. Aligned in their goal, Thea and Jonah sneak around trying to dig into Moon and Sol's secrets, while still attending the sessions meant to break open their relationship blockages and help them connect to past lives. Clearly, there's something sinister going on, and when they do find Catherine, their fears are amplified rather than assuaged. Bartz takes her novel, and its characters, to places beyond where other authors stop short; this is a harrowing story that tackles human vulnerability head-on. She shows us how evil actors can take full advantage of people in pain for their own material and psychic gain and how emotionally susceptible people can make tragic decisions. Melodrama of the first order, but frightening all the same. Copyright (c) Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

Chapter 1 1 "Why don't we draw our greatest fears?" Ace cocked his head as he handed me back the stack of computer paper. "Or is that too dark?" "That's an idea." Uncertain, I took my own sheet and set the stack neatly to the side. Was it too dark? I'd been thinking of asking the art therapy group to draw their favorite meal, but knew Ace and Lydia would reject it immediately. I was running out of ideas. There was only so much you could do with crayons, the sole approved materials: blunt, soft, safe. "Don't ask me about those, honey." Lydia swept back her gray-streaked mane. She looked like a well-kempt Upper East Sider, incongruous with the sights and sounds of a public hospital's inpatient psychiatric unit. "That's a door you really don't want to open." "Why not? Come on! You need to face your fears head-on." Ace spun a red crayon in his fingers. "Right, Dr. Thea? Aren't you always saying that?" "Ace, you know I'm not a doctor." I'd told him this multiple times to no avail. My coworker Amani had warned me during his first hospitalization, but being a naïve newbie, just off my two-year social work program, I hadn't listened. Ace had seemed so friendly, so pleasant . But in addition to manic episodes that caused him to think he had to save the world from human-presenting aliens, he also had a sixth sense for messing with you. " Miss Thea," he corrected amiably, scratching the back of his shaved head. "And when do I say that?" A bead of sweat rolled down my chest. Outside, the March sky was frigid, gray, and rain-speckled, but in this wing it was always so hot . He stared at me. "Maybe you don't." "All right." Lydia plucked a black crayon. "Biggest fear. I'm in." "Great." I jumped up and went to the window, struggling until it burst open--it stopped at two inches, so no one could slide through. Damp, cool air washed over me and I sucked it in greedily. My head ached from last night, when my roommate, Dom, had again canceled our reality-dating-show-and-takeout night and I'd unwisely opened and finished a bottle of sauvignon blanc. The fluorescent lighting did not help with hangovers. When I came back to the table, everyone was admiring a drawing Lonnie proudly held aloft. He was the best artist of the small group, but didn't follow instructions and always produced something just like this: a naked woman with flowing locks and enormous breasts. I'd tried to fight it, first stern, then cajoling, but it hadn't made a difference. Now I just let it go. It now seemed strange that I'd made the efforts to start this group in the first place. Past me of only a year ago had been a different person: a second-career thirty-two-year-old who had high hopes, who really thought she could make a difference. Current me, frankly, found her embarrassing. "A woman," I said evenly to Lonnie. "You're scared of women?" "Oh, deeply." Lonnie set down the paper and shaded in his subject's hair--orange, just like mine. I'd been shocked to find out Lonnie had been a college professor decades before. He'd gone on medication after his first psychotic break in his thirties, but had stopped taking it, devolved into psychosis, and subsequently lost his job and home. Recently he'd been taken into police custody after threatening people on a subway platform, and we were in the process of transferring him to a longer-term care facility. "Are you fucking kidding me?" Lydia paused in her scribbling. "You think women are the scary ones?" She caught my eye, colluding with me. "Maybe what you're afraid of is intimacy, Lonnie?" I tried to sound open, curious. "That would make sense. A lot of people fear--" "Nope." He pointed the orange crayon at me. " You. All of you." "I think Lon has a point." Ace sat back, folding his arms. "Because men are physically stronger, y'all have come up with your own weapons. Mental ones." "Mind control?" Lydia looked skeptical, but Lonnie nodded vigorously. "Exactly!" He stabbed the figure's right boob with the crayon. "My ex-wife was so good at manipulating me, I would've done anything for her. And you know how she repaid me? Stole all my money and ran off with our goddamn dog walker." Lonnie's stories about his ex-wife changed daily. It was actually interesting how he mythologized her. I didn't know if she'd even really existed. Lonnie was mostly stabilized by meds at this point but occasionally seemed to lose his grip on reality. "They know just what to say." Ace nodded sagely. Lydia scoffed. "That's ridiculous. You want to talk about what we have to put up with? Fear of men attacking us, raping us, killing us." "Here we go." Ace rolled his eyes. "Oh, so it's not true? So I'm just making it up? You hearing this, Red?" She turned to me, but I concentrated on dumping out more crayons. There were incredibly disturbing stats on women and domestic violence, of course--but I also knew jumping into the fray would just make it worse. "Calm down." Lonnie waved a dismissive hand. "You're just going to sit there and let them talk shit about us?" she asked me, her volume increasing. "Why don't we focus on the prompt. What are you drawing?" Hopefully, I could head off one of her rages, which were rare but legendary. Before she could answer, Ben, the fourth and mostly silent member of our group, let out a prolonged groan. He held the sides of his head and stared down at his paper as if he'd made an unforgiveable artistic mistake. "Shut up, Ben," Lydia spat. For some reason, she treated him like a bratty teen instead of the half-catatonic sixty-year-old he was. He was on a powerful dose of meds for schizophrenia and was also in the process of being moved to another care facility. He'd spent most of his time in the TV room, but had shown up for art therapy the previous week, where he'd peacefully doodled cartoon characters. "Hey." Ace straightened. "Don't talk to him that way." "Or what?" Lydia faced him. "You'll use one of your trusty male weapons? Kill me? Rape me?" "Don't worry, honey." Ace smirked at Lonnie, who smirked back. "No chance of that." "Oh, I'm too old and gross, huh?" Lydia stood so fast her chair fell over. "Is that what you're saying, you piece of shit?" "Hey." I set down a crayon. "Everyone, let's just--" "You got it!" Ace chuckled, unbothered. "No one wants to see your ugly ass." Lydia's pale face flushed tomato-soup red. "Watch out!" Lonnie called, gleeful. "The old hag will slit your throat." "Stop." I said it loudly, but no one paid attention. "Maybe I will slit your goddamn throat," Lydia yelled, her shout bouncing around the small room. " What is going on in here?" We all turned. My boss, Diane, stood in the doorway, eyebrows near her hairline. "Nothing." As if a switch had been flipped, Lydia calmly plopped back in her seat. Ace and Lonnie went back to coloring, docile as schoolboys. "Well, it doesn't sound like nothing." Diane strode in, her trademark block-heeled pumps clicking on the floor. Diane was only a little over five foot two, but the power she held here was incredible. I'd brought it up once with Amani. Transference. She'd shrugged. Everyone sees Diane as Mommy. "Hi, Diane." Guilt and embarrassment flooded my system. I felt like my teacher had asked me to monitor the classroom and returned to find that I'd completely lost control. Diane stood behind Ben's chair, peering down at the scribbles. Lonnie had deftly flipped his paper over and was now drawing a large tree. Lydia offered Diane a rare grin. Several of her lower teeth were stubs, melted by meth use. She'd been brought in after having a psychotic break at her inpatient rehab program, where she'd punched her roommate. We were hoping the program would take her back. "We're just talking about our greatest fears." Lydia tapped her paper. "I was going to draw a clown. They freak me out." "Mine is intimacy," Ace jumped in smoothly. He pointed to his paper, where he'd quickly drawn two stick people next to each other. "Oh yeah?" Diane peered down. She'd been unsure about the art group to begin with. "Ben's fear is failure," Ace went on, unable to keep an amused smile off his face. "That's a pretty... intense prompt." Diane looked over at me. "Our idea," Lydia said quickly. "Not hers. She wanted us to draw our favorite animal." Now they were protecting me. The hangover headache resurged. "Sorry if we were getting loud," I said. "People were feeling real passion for the topic." "Okay. Well." Diane stepped back. Clack. "Thea, can you come to my office when you're done here? There's something we need to talk about." "Ooh," Ace murmured under his breath, like I was getting called to the principal's office. "Sure," I said breezily. Diane left and the rest of the hour passed slowly. Ace, Lydia, and Lonnie continued to quibble, but the dangerous tension of earlier had dissipated. At the end I gathered up the crayons as the others threw their papers away. "What's that?" Lydia pointed to the paper I'd mindlessly scribbled at. Before I could look down, she snatched it and held it aloft. "Is this a cunt ?" Her voice was gleeful. And I guess you could see it that way: a scribbled space, becoming darker in the center. "Something on your mind?" Ace winked. "You know, I could give you some tips." "Caves." I said it quickly, willing the incoming blush down. If I blushed in front of them, I was done for. "I have a fear of caves." "Scary," Lonnie agreed in a rare moment of solidarity. Maybe he was just glad I'd let him draw breasts the whole time. They walked out together, chattering, Lydia taking Ben's arm to lead him back to the TV room. I was reminded ridiculously of The Breakfast Club . I stared at my paper for a moment. I hadn't really been thinking of it--I'd mostly been pondering what Diane wanted to talk to me about, and where to get lunch--but I had dreamed about a cave last night. I'd been trapped in a tiny space. I didn't remember the dream, just the setting: cold, damp, wet. The memory triggered a curl of terror in my chest. I crumpled the paper up and tossed it in the trash with the others. Excerpted from The Last Session: A Novel by Julia Bartz All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.