Erickson (Death by Eggnog, 2017, etc.) kicks off a new series that combines irresistibly cute pets, a tangled plot, and a...
A family dedicated to animal rescue find themselves involved in murder.
On a mission to pick up Stewie, an elderly Pomeranian whose even older owner is heading for an extended care facility, Liz Denton and her son, Ben, spot a van belonging to another rescue group run by Courtney Shaw, who’s not above making a buck by charging high fees for pets. Stewie’s owner, Timothy Fuller, who’d called Liz to find his beloved dog a great home, orders his nurse to take him indoors, leaving Liz and Courtney to negotiate in front of Tim Jr. and his wife, who just want the dog gone. When the nurse suggests that one of them come back later for Stewie, Liz follows Courtney home, leaving Ben to make the acquaintance of Selena Shriver, the bikini-clad neighbor, until she returns. Courtney finally agrees to let Liz take Stewie, but when she returns for him and Ben, she learns that Timothy’s dead and Ben’s been arrested for his murder. Since he’d never met Timothy before, Ben seems an unlikely suspect. But the police have a witness who saw Ben enter the house, and there’s blood on his shirt, which sports his name in large letters. Ignoring her veterinarian husband, Manny, who advises her to trust in the law, Liz starts sleuthing on her own. The rumor that Timothy had a large sum of money hidden away on his property generates more suspects who might have stabbed him for refusing to disclose his hidden stash. Liz’s daughter, Amelia, a college student, has been acting strangely recently, but her secret proves surprisingly helpful in proving Ben innocent.
Erickson (Death by Eggnog, 2017, etc.) kicks off a new series that combines irresistibly cute pets, a tangled plot, and a pretty obvious killer.Pub Date: March 26, 2019
ISBN: 978-1-4967-1992-8
Page Count: 304
Publisher: Kensington
Review Posted Online: Dec. 22, 2018
Kirkus Reviews Issue: Jan. 15, 2019
Connelly takes a break from his Harry Bosch police novels (The Last Coyote, p. 328, etc.) for something even more intense: a reporter's single-minded pursuit of the serial killer who murdered his twin. Even his buddies in the Denver PD thought Sean McEvoy's shooting in the backseat of his car looked like a classic cop suicide, right clown to the motive: his despondency over his failure to clear the murder of a University of Denver student. But as Sean's twin brother, Jack, of the Rocky Mountain News, notices tiny clues that marked Sean's death as murder, his suspicions about the dying message Sean scrawled inside his fogged windshield—"Out of space. Out of time"—alert him to a series of eerily similar killings stretching from Sarasota to Albuquerque. The pattern, Jack realizes, involves two sets of murders: a series of sex killings of children, and then the executions (duly camouflaged as suicides) of the investigating police officers. Armed with what he's dug up, Jack heads off to Washington, to the Law Enforcement Foundation and the FBI. The real fireworks begin as Jack trades his official silence for an inside role in the investigation, only to find himself shut out of both the case and the story. From then on in, Jack, falling hard for Rachel Walling, the FBI agent in charge of the case, rides his Bureau connections like a bucking bronco—even as one William Gladden, a pedophile picked up on a low-level charge in Santa Monica, schemes to make bail before the police can run his prints through the national computer, then waits with sick patience for his chance at his next victim. The long-awaited confrontation between Jack and Gladden comes at an LA video store; but even afterward, Jack's left with devastating questions about the case. Connelly wrings suspense out of every possible aspect of Jack's obsessive hunt for his brother's killer. Prepare to be played like a violin.
Pub Date: Jan. 15, 1996
ISBN: 0-316-15398-2
Page Count: 440
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 1995
A landmark work of speculative fiction, comparable to A Clockwork Orange, Brave New World, and Russian revolutionary...
Environmental unconcern, genetic engineering, and bioterrorism have created the hollowed-out, haunted future world of Atwood’s ingenious and disturbing 11th novel, bearing several resemblances to The Handmaid’s Tale (1985).
Protagonist Jimmy, a.k.a. “Snowman,” is perhaps the only living “remnant” (i.e., human unaltered by science) in a devastated lunar landscape where he lives by his remaining wits, scavenges for flotsam surviving from past civilizations, dodges man-eating mutant predators, and remembers. In an equally dark parallel narrative, Atwood traces Jimmy’s personal history, beginning with a bonfire in which diseased livestock are incinerated, observed by five-year-old Jimmy and his father, a “genographer” employed by, first, OrganInc Farms, then, the sinister Helthwyzer Corporation. One staggering invention follows another, as Jimmy mourns the departure of his mother (a former microbiologist who clearly foresaw the Armageddon her colleagues were building), goes through intensive schooling with his brilliant best friend Glenn (who renames himself Crake), and enjoys such lurid titillations as computer games that simulate catastrophe and global conflict (e.g., “Extinctathon,” “Kwiktime Osama”) and Web sites featuring popular atrocities (e.g., “hedsoff.com”). Surfing a kiddie-porn site, Jimmy encounters the poignant figure of Oryx, a Southeast Asian girl apprenticed (i.e., sold) to a con-man, then a sex-seller (in sequences as scary and revolting as anything in contemporary fiction). Oryx will inhabit Jimmy’s imagination forever, as will the perverse genius Crake, who rises from the prestigious Watson-Crick Institute to a position of literally awesome power at the RejoovenEsense Compound, where he works on a formula for immortality, creates artificial humans (the “Children of Crake”), and helps produce the virus that’s pirated and used to start a plague that effectively decimates the world’s population. And Atwood (The Blind Assassin, 2000, etc.) brings it all together in a stunning surprise climax.
A landmark work of speculative fiction, comparable to A Clockwork Orange, Brave New World, and Russian revolutionary Zamyatin’s We. Atwood has surpassed herself.Pub Date: May 6, 2003
ISBN: 0-385-50385-7
Page Count: 400
Publisher: Nan A. Talese
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2003
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