Bradford's chatterbox style and cast of thousands create nothing but confusion, but her fans probably won't care.

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THE TRIUMPH OF KATIE BYRNE

A ho-hum mystery of sorts from megaselling Bradford (A Sudden Change of Heart, 1999, etc.), this about a young actress who’s haunted by a violent attack on her closest chums.

Katie Byrne was only 17 when her friend Denise was raped and murdered by a mysterious assailant who also brutally beat their chum Carly and left her for dead. Carly sunk into a permanent vegetative state, and the assailant's identity remained unknown. Flash forward ten years: Kate is a star student at London's Royal Academy of Dramatic Arts and has been tapped for a lead role in a play about the Brontë sisters headed for Broadway. She's hesitant, not wanting to return to America, but her glamorous roommate, Xenia Leyburn, persuades her to think it over at the stately Yorkshire home of Xenia's sister-in-law Verity, Lady Hawes. Much talk ensues about stately homes in general and the Brontës in particular—in fact, Leyburn Hall is not far from the very moors they once walked. In due time, a psychic housekeeper divines that something is troubling Kate, who cannot forget the attack, no matter how pleasant her surroundings. She drifts around the manse, meeting countless other relatives and servants, and basically holes up to die, to sleep, perchance to . . . to quote from plays safely in the public domain for centuries, namely, Hamlet. Bradford even has her heroine spout the famous soliloquy a few times, but that's about it for theatrical authenticity. Eventually, after some gentle prodding by Xenia, Verity, and the spooky housekeeper, Kate decides to accept the Emily Brontë role and return to New York. Despite bewildering onstage flashbacks, evidently caused by post-traumatic-stress syndrome and survivor's guilt, she visits Carly faithfully. Lo and behold, her friend miraculously snaps back into full consciousness after ten years, and the murderer is soon brought to justice.

Bradford's chatterbox style and cast of thousands create nothing but confusion, but her fans probably won't care.

Pub Date: March 27, 2001

ISBN: 0-385-50140-4

Page Count: 352

Publisher: Doubleday

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 15, 2001

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A strongly felt, if not terribly gripping, sendoff for a Turow favorite nearly 35 years after his appearance in Presumed...

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THE LAST TRIAL

Trying his final case at 85, celebrated criminal defense lawyer Sandy Stern defends a Nobel-winning doctor and longtime friend whose cancer wonder drug saved Stern's life but subsequently led to the deaths of others.

Federal prosecutors are charging the eminent doctor, Kiril Pafko, with murder, fraud, and insider trading. An Argentine émigré like Stern, Pafko is no angel. His counselor is certain he sold stock in the company that produced the drug, g-Livia, before users' deaths were reported. The 78-year-old Nobelist is a serial adulterer whose former and current lovers have strong ties to the case. Working for one final time alongside his daughter and proficient legal partner, Marta, who has announced she will close the firm and retire along with her father following the case, Stern must deal not only with "senior moments" before Chief Judge Sonya "Sonny" Klonsky, but also his physical frailty. While taking a deep dive into the ups and downs of a complicated big-time trial, Turow (Testimony, 2017, etc.) crafts a love letter to his profession through his elegiac appreciation of Stern, who has appeared in all his Kindle County novels. The grandly mannered attorney (his favorite response is "Just so") has dedicated himself to the law at great personal cost. But had he not spent so much of his life inside courtrooms, "He never would have known himself." With its bland prosecutors, frequent focus on technical details like "double-blind clinical trials," and lack of real surprises, the novel likely will disappoint some fans of legal thrillers. But this smoothly efficient book gains timely depth through its discussion of thorny moral issues raised by a drug that can extend a cancer sufferer's life expectancy at the risk of suddenly ending it.

A strongly felt, if not terribly gripping, sendoff for a Turow favorite nearly 35 years after his appearance in Presumed Innocent.

Pub Date: May 12, 2020

ISBN: 978-1-5387-4813-8

Page Count: 448

Publisher: Grand Central Publishing

Review Posted Online: Feb. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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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

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