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HELP ME PLEASE

D’Amato’s latest report from the Chicago Police Department (Good Cop, Bad Cop, 1998, etc.) focuses on a fiendishly clever crime: the kidnaping of a child. In the moment her parents are distracted, three-year-old Danielle Gaston is spirited from Holy Name Cathedral by a bogus priest. The case brings Polly Kelly, Deputy Chief of Detectives for Chicago North, to instant attention, because Danni’s mother is country-music star Maggie McKittredge, and her father is Senator Neal Gaston. And after some anxious pangs toward the beginning, Polly’s increasingly convinced the child is still in Chicago—probably in the heart of the crowded Gold Coast. But can the thousand cops beating the bushes for Danni find her before she starves to death? Not only Polly but all the world can count the hours till Danni will die, because D’Amato, displaying the same fascination with computers that fueled Killer.App (1996), has updated her old-fashioned plot with a chilling new twist: The kidnappers place a digital camera in the bare, locked room where they’re keeping Danni and put her live, real-time image on the Net at . So Polly can watch; Polly’s clinically depressed mother, who’s moved in with her just in time to have Polly camp out in her office, can watch; and anybody with a TV can watch CNN around the clock as the unwitting Danni’s movements grow ever weaker. D‘Amato shows a no-nonsense authority in laying out the myriad details of a police dragnet, and she endows her villains—the crew of imprisoned cybertyrant Johnnie Raft, who thinks it’s about time smart people were running the world—with enough savvy to stay one step ahead of it. But her determination to keep her last card hidden leads her to a surprise that will have a lot of readers pursing their lips in disbelief. For most of the ride, though, the case purrs along with just enough edge to the thrills to make this a tougher complement to the author’s Cat Marsala mysteries.

Pub Date: Oct. 1, 1999

ISBN: 0-312-86563-5

Page Count: 336

Publisher: Forge

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Sept. 15, 1999

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DEVOLUTION

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

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  • New York Times Bestseller

Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).

A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

Pub Date: June 16, 2020

ISBN: 978-1-9848-2678-7

Page Count: 304

Publisher: Del Rey/Ballantine

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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THEN SHE WAS GONE

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

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. 5, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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