Using the conventions of a Victorian pastiche, Vine presents as satisfying a family of monsters as you’re likely to find....
In Ruth Rendell’s 12th thriller under the Vine byline (The Blood Doctor, 2002, etc.), a Swedish nurse, in order to be near her lover in London, takes a post in Essex only to find that love is in dangerously short supply at Lydstep Old Hall.
Iron-willed widow Julia Cosway maintains that her son John doesn’t really need a nurse, only a minder to keep an eye on him, especially during the afternoon walks he craves. But both she and her old friend Dr. Selwyn Lombard, who’s been following the case for 30 years, are serenely confident that John is mad, presumably schizophrenic. Kerstin Kvist, arriving like a Charlotte Brontë heroine one autumn afternoon in the late 1960s to take John in hand, soon sees that his main problem is the steady diet of tranquilizers his mother is feeding him. Instead of confronting Mrs. Cosway, however, she finds herself slipping into the routine of the Cosway daughters. She accepts countless cups of tea from Ida, congratulates Winifred on her engagement to the local rector, becomes an unwilling confidante to Ella, keeps her own counsel about wealthy, widowed Zorah and watches both Ella and Winifred fall in love with newly arrived artist Felix Dunsford, who may be even more selfish than they are. The more Kerstin learns about the Cosways, in fact, the more sympathetic she is to John, who’s condemned to be regarded as a monstrous minotaur within the labyrinth of Lydstep’s locked library, and the more like minotaurs she finds the whole sick crew that surrounds him in breathtakingly hypocritical solicitude. The combustible family—“dysfunctional before the word was invented”—is the perfect setup for Vine’s trademark long-deferred violence.
Using the conventions of a Victorian pastiche, Vine presents as satisfying a family of monsters as you’re likely to find. It’s like watching a house of cards collapse in exquisite slow-motion.Pub Date: March 21, 2006
ISBN: 0-307-23760-5
Page Count: 352
Publisher: Shaye Areheart/Harmony
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2006
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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