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TRIPLE CROSS

The list of Freemantle’s outings runs to thirty-plus now. While this one is a smidge less than his best, no one in the field...

Megalomaniac gangster goes on a killing spree as he tries to become Russia’s bossky of bosskies.

Attempting to thwart him is that law enforcement odd couple Danilov and Cowley, last seen in The Watchmen (2002). Dimitri Danilov, now head of Moscow’s Crime Bureau, and Bill Cowley, now head of the FBI’s Russian desk, have in the past worked well together as international investigators. They like and trust each other, which is more than either can say about the lion’s share of his home-based colleagues. But both have baggage that will prove complicating as they pursue deadly, deranged Igor Gavrilovich Orlov, who’s as wily as he is wacky. Danilov has become a man with secrets: His lover was murdered in a gangland hit, and he’s sworn to avenge her. When her killer turns out to be none other than Orlov, the temptation of vigilantism is almost overpowering. Cowley, on the other hand, is an alcoholic in denial, in part because seeking help is such an obvious downer of a career move, and so, as pressure mounts—Freemantle is a master at depicting the genteel savagery of bureaucratic infighting—the temptation of the bottle blurs his focus. In the meantime, Orlov, to whom murder is merely good business practice, fills body bags in three countries on his way to realizing his upwardly mobile dream of Mafia preeminence. At one point, quite gratuitously, he arranges a car-bombing that destroys 12 FBI agents and 16 innocent bystanders—a group that comes within an eyelash of including Danilov—while laughing at the presumption of law enforcement dullards who imagine themselves a match for Orlov’s brilliance. That he doesn’t laugh last is a given, of course. Freemantle villains never get short shrift.

The list of Freemantle’s outings runs to thirty-plus now. While this one is a smidge less than his best, no one in the field is more consistently readable.

Pub Date: March 1, 2004

ISBN: 0-312-31551-1

Page Count: 336

Publisher: Dunne/St. Martin's

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2004

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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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