Dunn has hung his story on a gimmick (the cab thing). It doesn’t work.

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RIVERS OF GOLD

New York taxicabs form the nexus of the drug trade in this messy near-future crime novel, journalist Dunn’s debut.

The city is a bleak place in 2012, ravaged by double-digit inflation and unemployment. Buildings stand empty, restaurants shuttered. Organized crime, though, has seized the opportunity. Catering to a young, well-heeled party crowd, it has created a network of “speaks,” illegal bars that float between locations, never used more than once. As for the drugs, the dealer gets his money from the clients, then directs them to a waiting cab, where the product is stashed. It works like clockwork, explains Renny, the young fashion photographer who sells Specials (Ecstasy pills) as a lucrative second job. He gets his cut from underworld boss Reza, a Bulgarian who first turned the cabs into the eponymous rivers of gold. When he’s not working, Renny the stud is having wild sex with L, who he dumps in favor of N. (He likes his gorgeous babes depersonalized.) “I really can have it all,” he gloats. Such hubris will not go unpunished; already there are warning signs (a murdered cabbie, a looming turf war) and the cops are catching on. They are represented by Detective Santiago, a hulking young Dominican-American, and his mysterious new partner Everett More. More is uncommunicative but frighteningly good at breaking bones. The opponents are now in place, but the novel stalls. Exposition trumps action. The revelation that More is a Marine entails a lecture on the Posse Comitatus Act; the search for the cabbie’s killer pauses for a survey of the taxicab business. The old maxim (write what you know) becomes in Dunn’s handling something different (write what you research). His predilections (guns, acronyms and really, really large people) poke through the narrative. A car chase (good guys pursuing good guys) and a high-tech showdown absent Reza make for an unsatisfying climax.

Dunn has hung his story on a gimmick (the cab thing). It doesn’t work. 

Pub Date: Sept. 28, 2010

ISBN: 978-1-60819-307-3

Page Count: 288

Publisher: Bloomsbury

Review Posted Online: Aug. 5, 2010

Kirkus Reviews Issue: Sept. 1, 2010

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A gut-wrenching debut.

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MY DARK VANESSA

The #MeToo movement forces a struggling young woman to confront the abusive relationship that defines her sexual and romantic past.

At 15, Vanessa Wye falls for her English teacher at Browick, a private boarding school. Jacob Strane is 42, "big, broad, and so tall that his shoulders hunch as though his body wants to apologize for taking up so much space." Strane woos Vanessa with Nabokov's novels, Plath's poetry, and furtive caresses in his back office. "I think we're very similar, Nessa," Strane tells her during a one-on-one conference. "I can tell from the way you write that you're a dark romantic like me." Soon, Vanessa is reveling in her newfound power of attraction, pursuing sleepovers at Strane's house, and conducting what she feels is a secret affair right under the noses of the administration. More than 15 years later, at the height of the #MeToo movement, Taylor Birch, another young woman from Browick, publicly accuses Strane of sexual abuse. When a young journalist reaches out to Vanessa to corroborate Taylor's story, Vanessa's world begins to unravel. "Because even if I sometimes use the word abuse to describe certain things that were done to me, in someone else's mouth the word turns ugly and absolute....It swallows me and all the times I wanted it, begged for it," Vanessa tells herself. Russell weaves Vanessa's memories of high school together with the social media–saturated callout culture of the present moment, as Vanessa struggles to determine whether the love story she has told about herself is, in fact, a tragedy of unthinkable proportions. Russell's debut is a rich psychological study of the aftermath of abuse, and her novel asks readers both to take Vanessa's assertions of agency at face value and to determine the real, psychological harm perpetrated against her by an abusive adult. What emerges is a devastating cultural portrait of enablement and the harm we allow young women to shoulder. "The excuses we make for them are outrageous," Vanessa concludes about abusive men, "but they're nothing compared with the ones we make for ourselves."

A gut-wrenching debut.

Pub Date: March 10, 2020

ISBN: 978-0-06-294150-3

Page Count: 384

Publisher: Morrow/HarperCollins

Review Posted Online: Aug. 19, 2019

Kirkus Reviews Issue: Sept. 1, 2019

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Traversing topics of love, race, and class, this emotionally complex novel speaks to—and may reverberate beyond—our troubled...

A GOOD NEIGHBORHOOD

A riveting, potentially redemptive story of modern American suburbia that reads almost like an ancient Greek tragedy.

When the Whitmans, a nouveau riche white family, move into a sprawling, newly built house next door to Valerie Alston-Holt, a black professor of forestry and ecology, and her musically gifted, biracial 18-year-old son, Xavier, in a modest, diverse North Carolina neighborhood of cozy ranch houses on wooded lots, it is clear from the outset things will not end well. The neighborhood itself, which serves as the novel’s narrator and chorus, tells us so. The story begins on “a Sunday afternoon in May when our neighborhood is still maintaining its tenuous peace, a loose balance between old and new, us and them,” we are informed in the book’s opening paragraph. “Later this summer when the funeral takes place, the media will speculate boldly on who’s to blame.” The exact nature of the tragedy that has been foretold and questions of blame come into focus gradually as a series of events is set inexorably in motion when the Whitmans’ cloistered 17-year-old daughter, Juniper, encounters Xavier. The two teenagers tumble into a furtive, pure-hearted romance even as Xavier’s mom and Juniper’s stepfather, Brad, a slick operator who runs a successful HVAC business and has secrets of his own, lock horns in a legal battle over a dying tree. As the novel builds toward its devastating climax, it nimbly negotiates issues of race and racism, class and gentrification, sex and sexual violence, environmental destruction and other highly charged topics. Fowler (A Well-Behaved Woman, 2018, etc.) empathetically conjures nuanced characters we won’t soon forget, expertly weaves together their stories, and imbues the plot with a sense of inevitability and urgency. In the end, she offers an opportunity for catharsis as well as a heartfelt, hopeful call to action.

Traversing topics of love, race, and class, this emotionally complex novel speaks to—and may reverberate beyond—our troubled times.

Pub Date: Feb. 4, 2020

ISBN: 978-1-250-23727-9

Page Count: 288

Publisher: St. Martin's

Review Posted Online: Oct. 1, 2019

Kirkus Reviews Issue: Oct. 15, 2019

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