Readers who’ve always wanted to see Spenser in Tinseltown can cross that off their bucket lists.
Spenser goes to Hollywood.
In the two years since she’s moved from Cambridge to Los Angeles in pursuit of stardom, Gabrielle Leggett has been a dog walker, a personal assistant, a model, an actress, a media influencer, and now, for the past two weeks, a missing person. The LAPD knows about Gabby’s disappearance, but her mother, dissatisfied with their efforts, sends Spenser (Robert B. Parker’s Old Black Magic, 2018, etc.) out to the Left Coast to do the job right. Predictably, Gabby’s agent and former romantic partner, Eric Collinson, doesn’t want to talk to him. Neither does Jeffrey Bloom, the acting coach who thought Gabby had just dropped out of his class, or Jimmy Yamashiro, the married studio CEO who took Collinson’s place. And the only thing publicist Nancy Sharp, Gabby’s ex-boss, wants to talk about is how much fun she and Spenser could have if he’d only lighten up. Eventually Spenser works his contacts to get an audience with Yamashiro, but the results are less than impressive. He must be making an impression, though, because five Armenian thugs ambush him and shoot his West Coast associate, Zebulun Sixkill, in the arm, disabling him and requiring Spenser to look for another sidekick. Eventually he gets a lead that connects Gabby to Joseph Haldorn, aka Phaethon, the founder of HELIOS, a hush-hush organization that promises self-actualization and conducts itself suspiciously like a cult. But instead of thickening, the mystery surrounding Gabby just gets more violent and diffuse. Surprisingly, Atkins gets the hardest parts right—his hero/narrator now sounds indistinguishable from Robert B. Parker’s—but bogs down in the plotting, the area in which he presumably had the freest hand. As for the cod-out-of-water milieu, it evokes not so much particular SoCal locations as dozens of earlier SoCal whodunits.
Readers who’ve always wanted to see Spenser in Tinseltown can cross that off their bucket lists.Pub Date: Nov. 19, 2019
ISBN: 978-0-525-53682-6
Page Count: 320
Publisher: Putnam
Review Posted Online: Sept. 14, 2019
Kirkus Reviews Issue: Oct. 1, 2019
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
This anxiety-fueled stand-alone from Edgar nominee Gaylin (What Remains of Me, 2016, etc.) takes the gulf that naturally...
After a hit-and-run kills a high school student, the court of public opinion convicts a lonely outcast.
When Jackie Reed hears her 17-year-old son, Wade, sneaking out the night before the SATs, she knows she should stop him; instead, she pops a Xanax and returns to bed. At 4 a.m., Jackie’s 13-year-old, Connor, wakes to find a rain-soaked Wade hiding something in his closet; he considers tattling but promises to keep quiet. These seemingly innocuous decisions come back to haunt Jackie and Connor the next morning. While Officer Pearl Maze was working the graveyard shift at the Havenkill, New York, police department, Amy Nathanson burst through the door claiming to have been carjacked. According to Amy, her screams summoned 17-year-old Liam Miller, whom the thief ran over during his escape. The cops canvass the neighborhood for witnesses, and the Reeds are stunned to realize that Wade matches the suspect’s description. Evidence mounts against him, and the community ostracizes his family, but still Wade refuses to divulge his whereabouts at the time of the accident. The book opens with Wade’s suicide note, then flashes back five days and unfolds from the perspectives of Jackie, Connor, Pearl, and Amy. This narrative shift maximizes suspense by forcing readers to guess at Wade’s thoughts and actions, allowing Gaylin to insightfully explore the crime’s ripple effects.
This anxiety-fueled stand-alone from Edgar nominee Gaylin (What Remains of Me, 2016, etc.) takes the gulf that naturally develops between teenagers and their families and stocks it with sharks.Pub Date: March 6, 2018
ISBN: 978-0-06-264111-3
Page Count: 384
Publisher: Morrow/HarperCollins
Review Posted Online: Dec. 11, 2017
Kirkus Reviews Issue: Jan. 1, 2018
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A chilling story set under a blistering sun, this fine debut will keep readers on edge and awake long past bedtime.
A mystery that starts with a sad homecoming quickly turns into a nail-biting thriller about family, friends, and forensic accounting.
Federal agent Aaron Falk is called back to his rural Australian hometown for the funeral of his best friend, Luke, who apparently committed suicide after killing his wife and 6-year-old son; he’s also called to reckon with his own past. Falk and his father were run out of town when he was accused of killing his girlfriend. Luke gave him an alibi, but more than one person in town knows he was lying. When Luke’s parents ask Falk to find the truth, long-buried secrets begin to surface. Debut author Harper plots this novel with laser precision, keeping suspects in play while dropping in flashbacks that offer readers a full understanding of what really happened. The setting adds layers of meaning. Kiewarra is suffering an epic drought, and Luke’s suicide could easily be explained by the failure of his farm. The risk of wildfire, especially in a broken community rife with poverty and alcoholism, keeps nerves strung taut. Falk's focus as an investigator is on following the money; nobody in town really understands his job, but his phone number turns up on a scrap of paper belonging to Luke’s late wife, a woman he’d never met. The question throughout is whether Luke’s death is something a CSI of spreadsheets can unravel or if it’s a matter of bad blood from times past finally having reached the boiling point. Falk struggles to separate the two and let his own old grudges go. A fellow investigator chastises him: “You’re staring so hard at the past that it’s blinding you.”
A chilling story set under a blistering sun, this fine debut will keep readers on edge and awake long past bedtime.Pub Date: Jan. 10, 2017
ISBN: 978-1-250-10560-8
Page Count: 336
Publisher: Flatiron Books
Review Posted Online: Sept. 25, 2016
Kirkus Reviews Issue: Oct. 15, 2016
BOOK TO SCREEN
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