Another franchise in the Nick Stone industry.
Ex–Special Forces member McNab (Last Light, 2002, etc.), back in a fifth outing, continues his career of vicarious mayhem.
It’s one last assassination for British ex-pat, Bond-heir apparent, superspy-assassin Nick Stone—who doesn’t know why the Algerian convenience-store king Zeralda needs to die and doesn’t really care. After all, he’s a “K” who works on deniable missions for the Intelligence Service, and “I’d always tried to turn my back on the guilt, remorse, and self-doubt that always followed a job.” Nick brings Zeralda’s head home and doesn’t say a word. Will he now be able to put all that behind him and become a barman or a tour guide, get his US citizenship, and please the two women in his life, the love interest and the semi-estranged daughter? Fugeddaboudit. It takes only the knowledge that Zeralda was mixed up with Al Qaeda (not to mention little boys) to bring our hero back to action tout de suite (“Today was the day the covert three-man team I commanded was about to take the war to Al Qaeda”). He vaults back into his world of intrigue and gadgetry, working with men who are used to jabbering in Arabic on the Net (but he’ll manage) and encountering characters with names like Hubba Hubba, Leather Girl, and Goatee. And when the mission’s all over, the dirty bomb thwarted, etc., Hubba Hubba is quick to remind Nick that he wouldn’t want to be a barman anyway, and superspies were sort of a family, weren’t they? “I couldn’t be a student or a bartender,” Nick concedes. “I couldn’t do anything other than what I did.” McNab may be slipping a bit here in trying to churn out product to match the times: it’s up-to-date enough to refer to Mr. And Mrs. B. entertaining heads of state with Tex-Mex while bombs fall in Afghanistan. Still, McNab is as obsessed with detail as always.
Another franchise in the Nick Stone industry.Pub Date: April 1, 2003
ISBN: 0-7434-0630-3
Page Count: 368
Publisher: Atria
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2003
It may be time for Silva's hero to retire from the field and let his protégés take over.
Gabriel Allon partners with a dubious ally in the Middle East.
When a 12-year-old is abducted from an exclusive private school in Geneva, Allon, head of Israeli intelligence, is among the first to know. The girl’s father is Khalid bin Mohammed, heir to the Saudi throne, and he wants Allon’s help. KBM was once feted as a reformer, ready to bring new industries and new freedoms to his country. When he makes his appeal to Allon, though, KBM is the prime suspect in the murder of a journalist. If KBM immediately makes you think of MBS, you are correct. Silva mentions Mohammad bin Salman, Saudi Arabia’s real-life heir apparent, in a foreword. But anyone who recognizes KBM as a fictional echo of MBS might find this book to be more old news than fresh entertainment. In his last few novels, Silva has turned his attention to current world affairs, such as the rise of the new Russia and the threats of global terrorism. In novels like The Other Woman (2018) and House of Spies (2017), the author was inventive enough that these works felt compelling and original. And, in The Black Widow (2016), Silva wrote much of the story from the point of view of the French-born Israeli doctor Allon recruited for an undercover mission while also expanding the roles of a few familiar secondary characters. Allon is a wonderful creation. In the first several novels in this series, he posed as an art restorer while working for Israel’s intelligence service. He adopted a variety of personas and gave readers access to people and places few of us will ever see. Now that he’s a public figure who can no longer invent alter egos, his world is smaller and less fascinating. The pacing here is slow, and any sense of urgency is undercut by the matter of what’s at stake. Ultimately, this is a narrative about removing one horrible Saudi ruler in order to reinstate a less horrible Saudi ruler. This might be solid realpolitik, but it’s not terribly compelling fiction.
It may be time for Silva's hero to retire from the field and let his protégés take over.Pub Date: July 16, 2019
ISBN: 978-0-06-283483-6
Page Count: 496
Publisher: Harper/HarperCollins
Review Posted Online: June 30, 2019
Kirkus Reviews Issue: July 15, 2019
With its flat, staccato tone and mournful mood, it’s almost as if the book itself were suffering from depression.
A young Philadelphia policewoman searches for her addicted sister on the streets.
The title of Moore’s (The Unseen World, 2016, etc.) fourth novel refers to “a long bright river of departed souls,” the souls of people dead from opioid overdoses in the Philadelphia neighborhood of Kensington. The book opens with a long paragraph that's just a list of names, most of whom don’t have a role in the plot, but the last two entries are key: “Our mother. Our father.” As the novel opens, narrator Mickey Fitzpatrick—a bright but emotionally damaged single mom—is responding with her partner to a call. A dead girl has turned up in an abandoned train yard frequented by junkies. Mickey is terrified that it will be her estranged sister, Kacey, whom she hasn’t seen in a while. The two were raised by their grandmother, a cold, bitter woman who never recovered from the overdose death of the girls' mother. Mickey herself is awkward and tense in all social situations; when she talks about her childhood she mentions watching the other kids from the window, trying to memorize their mannerisms so she could “steal them and use them [her]self.” She is close with no one except her 4-year-old son, Thomas, whom she barely sees because she works so much, leaving him with an unenthusiastic babysitter. Opioid abuse per se is not the focus of the action—the book centers on the search for Kacey. Obsessed with the possibility that her sister will end up dead before she can find her, Mickey breaches protocol and makes a series of impulsive decisions that get her in trouble. The pace is frustratingly slow for most of the book, then picks up with a flurry of revelations and developments toward the end, bringing characters onstage we don’t have enough time to get to know. The narrator of this atmospheric crime novel has every reason to be difficult and guarded, but the reader may find her no easier to bond with than the other characters do.
With its flat, staccato tone and mournful mood, it’s almost as if the book itself were suffering from depression.Pub Date: Jan. 7, 2020
ISBN: 978-0-525-54067-0
Page Count: 496
Publisher: Riverhead
Review Posted Online: Sept. 1, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
BOOK TO SCREEN
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