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BLACKLANDS

Bauer displays remarkable talent in pacing, plotting and, most important of all, getting beneath the skin of even her most...

In Bauer’s spare, haunting debut, a 12-year-old boy corresponds with a serial killer to learn the location of his uncle’s grave.

Nineteen years ago, 11-year-old Billy Peters disappeared from his home in a village on the edge of Exmoor, a craggy expanse of heather, gorse and Bronze Age ruins in Southwest England. His nephew Steven can see that Nan (the boy’s name for his grandmother) has lived a wan half-life ever since, waiting for news even though Arnold Avery was convicted of multiple child abductions and murders, including her son’s. (Police found Billy’s Nikes in Arnold’s van, but his body was never recovered.) Steven’s mother Lettie still lives with Nan, despite the fact that she neglected her daughter for years after losing Billy, her favorite. In turn, single mom Lettie favors younger son Davey over Steven. Since many of Avery’s victims were found buried on Exmoor, Steven searches the moor with his friend Lewis for Billy’s grave, digging with a cherished spade given to him by his favorite surrogate father, Lettie’s on-again-off-again boyfriend Jude. With a child’s magical thinking, sensitively portrayed in Bauer’s inventive, ironic diction, Steven believes that the gaping hole in his family will be filled by the unearthing of Billy’s remains, thereby ending Nan’s uncertainty. He writes to Avery, a model prisoner hoping for parole in two years, in an effort to trick him into revealing the gravesite; Avery responds with tantalizing but puzzling hints. When Steven inadvertently sends a photo of himself, revealing that he is of the age particularly favored by this serial killer, Avery’s compulsion mandates that he must escape and make Steven his next victim. A dispute between a prison guard and Avery’s only friend, fomented by Avery himself, provides the opportunity. Meanwhile, Steven’s ambivalent friendship with the manipulative Lewis will have crucial consequences all its own.

Bauer displays remarkable talent in pacing, plotting and, most important of all, getting beneath the skin of even her most repellent characters.

Pub Date: Jan. 1, 2010

ISBN: 978-1-4391-4944-7

Page Count: 232

Publisher: Simon & Schuster

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Nov. 1, 2009

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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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