A host of complex, well-drawn characters and a strong story make up for a slight tendency to overdo the magic realism in a...

READ REVIEW

THE RIVER KING

Hoffman, a gifted writer who's been treading water lately (Local Girls, 1997, etc.), is in much better form with this compelling portrait of class tensions and personal longings in the small-town Massachusetts.

Since 1858, the Haddan School has educated the children of the wealthy, who barely notice the village residents. More than 50 years after local girl Annie Howe, unhappily married to the school’s womanizing headmaster, hung herself from the rafters of the girls’ dormitory, town-gown fraternizing still seems a bad idea. Three new arrivals, though, quickly upset the smug status quo. Carlin Leander, transported from working-class Florida on a swimming scholarship, catches the fancy of handsome Harry McKenna, nasty top dog among the popular students. Betsy Chase, hired as photography instructor because she’s engaged to ambitious history teacher Eric Herman, finds herself attracted to Abe Grey, a town cop with a checkered past. And Gus Pierce, a brilliant but troubled new student, defies the vicious hazing (led by Harry) to which the faculty turns a blind eye. When Gus’s body is discovered in the river, everyone wants to sweep the matter under the rug. But Abe needs to honor the legacy of his upright grandfather, purge his bitter knowledge of the town’s current corruption, and redeem the sorrow of his brother’s long-ago suicide, as well as Annie Howe’s. He persists, and some measure of justice is meted out to the guilty, though there’s plenty of suffering for the innocent as well. Hoffman balances a biting depiction of Haddan’s snobbery and moral failures with her usual breathtakingly beautiful evocations of the natural world (laid on a little thick here). Her appealing protagonists find happiness, and a series of supernatural events suggest the existence of a higher order that will not allow evil to prevail . . . entirely.

A host of complex, well-drawn characters and a strong story make up for a slight tendency to overdo the magic realism in a novel sure to please Hoffman’s many fans.

Pub Date: July 17, 2000

ISBN: 0-399-14599-0

Page Count: 304

Publisher: Putnam

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 1, 2000

Did you like this book?

No Comments Yet

Now that Coben’s added politics to his heady brew, expect sex and religion to join the mix.

Our Verdict

  • Our Verdict
  • GET IT

  • New York Times Bestseller

  • IndieBound Bestseller

THE BOY FROM THE WOODS

Coben’s latest darkest-suburbs thriller sets a decidedly offbeat detective on the trail of a crime with overtones unmistakably redolent of once and future presidential elections.

Wilde is called Wilde because nobody’s known his real name from the moment a pair of hikers found him foraging for himself in Ramapo Mountain State Forest 24 years ago. Now over 40, he’s had experience as both a lost boy and a private investigator. That makes him an obvious person to help when his godson, Sweet Water High School student Matthew Crimstein, expresses concern to his grandmother, attorney Hester Crimstein, that his bullied classmate Naomi Pine has gone missing. Matthew doesn’t really want anyone to help. He doesn’t even want anyone to notice his agitation. But Hester, taking the time from her criminal defense of financial consultant Simon Greene (Run Away, 2019) to worm the details out of him, asks Wilde to lend a hand, and sure enough, Wilde, unearthing an unsavory backstory that links Naomi to bullying classmate Crash Maynard, whose TV producer father, Dash Maynard, is close friends with reality TV star–turned–presidential hopeful Rusty Eggers, finds Naomi hale and hearty. Everything’s hunky-dory for one week, and then she disappears again. And this time, so does Crash after a brief visit to Matthew in which he tearfully confesses his guilt about the bad stuff he did to Naomi. This second disappearance veers into more obviously criminal territory with the arrival of a ransom note that demands, not money, but the allegedly incriminating videotapes of Rusty Eggers that Dash and Delia Maynard have had squirreled away for 30 years. The tapes link Rusty to a forgotten and forgettable homicide and add a paranoid new ripped-from-the-headlines dimension to the author’s formidable range. Readers who can tune out all the subplots will find the kidnappers easy to spot, but Coben finds room for three climactic surprises, one of them a honey.

Now that Coben’s added politics to his heady brew, expect sex and religion to join the mix.

Pub Date: March 17, 2020

ISBN: 978-1-5387-4814-5

Page Count: 432

Publisher: Grand Central Publishing

Review Posted Online: Dec. 23, 2019

Kirkus Reviews Issue: Jan. 15, 2020

Did you like this book?

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

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. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

Did you like this book?

No Comments Yet
more