Pérez-Reverte ends the novel imaginatively, but not soon enough to rescue it from portentousness and redundancy. The author...



Dialectic replaces drama in a different kind of historical suspense novel, an international bestseller published in the U.S. for the first time, from the Spanish author (The Queen of the South, 2004, etc.).

The protagonist, Andrés Faulques, is a celebrated war photographer who, in middle age, has retreated to a watchtower on the Spanish Mediterranean coast to work on a huge circular mural depicting every war ever fought. Channeling the great masters of battle painting (such as Goya, Bruegel and Picasso), Faulques settles into a daily routine that includes swimming in the sea, listening to a female tour guide (who includes him among the region’s attractions) and fighting off pain from the incurable illness (doubtless cancer) that is killing him. Then one day a visitor arrives: a Croatian named Ivo Markovic. Markovic is a former soldier whose image happened to be captured in one of the photographs that made Faulques rich and famous. Markovic reveals that the photograph, widely shown during wartime, was employed by Croatia’s Serbian enemies, soldiers who hunted down Markovic’s family, raped and tortured his wife and murdered her and their young son. The occluded morality of art and the artist thus becomes the subject of daily conversations between the two men, after the Croatian has informed the photographer that he has come to kill him. Despite the beauty of Peden’s lucid translation and the tension implicit in contrasts between Markovic’s emotion and Faulques’s stoical fatalism, the novel becomes static—clogged with colloquies about the “Butterfly Effect” (it states that a small action innocently performed can resonate dangerously around the world) and the exploitative element in fashioning beautiful images from human suffering (most piercingly in Faulques’s hesitantly shared recollection of Olvido, his former female colleague and lover—and the subject of his camera’s insistent eye).

Pérez-Reverte ends the novel imaginatively, but not soon enough to rescue it from portentousness and redundancy. The author has done and can do better than this.

Pub Date: Jan. 15, 2008

ISBN: 978-1-4000-6598-1

Page Count: 224

Publisher: Random House

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Nov. 15, 2007

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A strange, subtle, and haunting novel.

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A financier's Ponzi scheme unravels to disastrous effect, revealing the unexpected connections among a cast of disparate characters.

How did Vincent Smith fall overboard from a container ship near the coast of Mauritania, fathoms away from her former life as Jonathan Alkaitis' pretend trophy wife? In this long-anticipated follow-up to Station Eleven (2014), Mandel uses Vincent's disappearance to pick through the wreckage of Alkaitis' fraudulent investment scheme, which ripples through hundreds of lives. There's Paul, Vincent's half brother, a composer and addict in recovery; Olivia, an octogenarian painter who invested her retirement savings in Alkaitis' funds; Leon, a former consultant for a shipping company; and a chorus of office workers who enabled Alkaitis and are terrified of facing the consequences. Slowly, Mandel reveals how her characters struggle to align their stations in life with their visions for what they could be. For Vincent, the promise of transformation comes when she's offered a stint with Alkaitis in "the kingdom of money." Here, the rules of reality are different and time expands, allowing her to pursue video art others find pointless. For Alkaitis, reality itself is too much to bear. In his jail cell, he is confronted by the ghosts of his victims and escapes into "the counterlife," a soothing alternate reality in which he avoided punishment. It's in these dreamy sections that Mandel's ideas about guilt and responsibility, wealth and comfort, the real and the imagined, begin to cohere. At its heart, this is a ghost story in which every boundary is blurred, from the moral to the physical. How far will Alkaitis go to deny responsibility for his actions? And how quickly will his wealth corrupt the ambitions of those in proximity to it? In luminous prose, Mandel shows how easy it is to become caught in a web of unintended consequences and how disastrous it can be when such fragile bonds shatter under pressure.

A strange, subtle, and haunting novel.

Pub Date: March 24, 2020

ISBN: 978-0-525-52114-3

Page Count: 320

Publisher: Knopf

Review Posted Online: Nov. 25, 2019

Kirkus Reviews Issue: Dec. 15, 2019

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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 20, 2010

Kirkus Reviews Issue: Oct. 1, 1995

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