The volcanic heroes and villains, who act both surprisingly and logically, are a welcome sign that Slaughter’s trademark...
Taking a break from her well-regarded series about Grant County Medical Examiner Dr. Sara Linton (Faithless, 2005, etc.), Slaughter turns to a stand-alone in which horrific physical violence grows out of the psychological kind.
Nobody would care about Aleesha Monroe, the prostitute slain in an Atlanta housing project, if her killer hadn’t bitten off her tongue. But because Aleesha’s the fourth such victim in recent months, Det. Michael Ormewood is under intense pressure from his lieutenant to close the case—even though Michael’s already got his hands full juggling a mentally challenged son and a seductive next-door neighbor. The pressure is only intensified when Will Trent, of the Georgia Bureau of Investigation’s Special Criminal Apprehension Team, is assigned to the case, and when Will starts to lean on his childhood friend, Vice cop Angie Polaski, for help. Across town, saintlike John Shelley, just released from prison after serving 20 years for rape and murder, has troubles of his own: a dead-end job, a roach-infested apartment, a hard-nosed parole officer and the certainty that everyone who sees him knows he did time for killing a 15-year-old girl. When John, after rescuing a hooker from assault, walks her home and pays her colleague Robin to tell him about her first kiss, the story takes wing, and Slaughter, whose hallmark in her first five novels had been grueling forensics, shows a rare and generous capacity for compassion. Though there are mysteries along the way—how did John manage to compile a stratospheric credit rating while he was in stir, and what’s the connection between the violence past and present?—Slaughter has the courage to detonate her biggest bombshells early on, keeping even the wariest readers off-balance and leaving the last act for a settling of accounts.
The volcanic heroes and villains, who act both surprisingly and logically, are a welcome sign that Slaughter’s trademark franchise only hints at the range of her gifts.Pub Date: Aug. 15, 2006
ISBN: 0-385-33946-1
Page Count: 400
Publisher: Delacorte
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 2006
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
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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