A woman gets in touch with her inner action hero in this bracing thriller.
In this novel, a restaurateur’s ex-husband—a journalist working on an explosive story—puts her and her son in danger.
Callie James is the owner of Le Cochon Bronze, a popular eatery in Seattle, where she returned, heartbroken and pregnant, after she caught her French spouse cheating on her. Fourteen years later, her former husband shows up at the restaurant. He is a renowned investigative reporter working on “the story of the modern terrorist world.” She wants no part of him and escorts him outside. No sooner does he inform her that someone is trying to kill him and he needs her help than a hit-and-run driver propels him through the front of her restaurant. He survives, and, against her better judgment, she agrees to hide him for the sake of the son he has never met. “This kind of risk-taking is not like you,” her sommelier notes. Her 13-year-old son, Lew, tells her: “You need someone to help you. Someone tough.” Callie knows just the guy: Cash Logan, “a scoundrel,” womanizer, and smuggler whom she turned over to the police two years ago. (“When you get out of jail, don’t ever come back here,” she told him.) While it is out of character for him, too, he agrees to help her (albeit for a sizable sum of money). One of the pleasures of this fast-paced franchise starter is Callie’s believably gradual transformation into someone who would spray bear mace on two assassins in a car. She is, as described, “a force of nature.” Weissbourd’s supporting cast of colorful characters just skirts the realm of clichés. In this entertaining tale, it is menacingly effective that the softer a villain’s voice gets, the angrier he is. Only the ex-husband is not as convincingly drawn. Still, as one character toasts, “Bravo, Callie James.”
A woman gets in touch with her inner action hero in this bracing thriller.Pub Date: May 5, 2020
ISBN: 9781733438209
Page Count: -
Publisher: Blue City Press
Review Posted Online: Feb. 28, 2020
Review Program: Kirkus Indie
Fans of Stockett’s bestselling debut will love this engaging follow-up.
Stockett heads to Mississippi for another historical novel about feisty women.
This time, perhaps recalling criticisms of cultural appropriation in The Help (2009), she sticks to feisty white women, with one exception. The setting is Oxford in 1933. For two miserable years, 11-year-old Meg has lived in “the Orphan,” a county asylum for parentless girls. Chairlady Garnett—a villain so one-note she’d twirl a mustache if she had one—makes it her mission to ostracize the older girls she deems unadoptable, stigmatizing them as offspring of the “feebleminded” mothers who abandoned them. She particularly has it in for smart, sassy Meg, who refuses to believe her mother’s mysterious disappearance was deliberate. Elsewhere in Oxford, Birdie Calhoun comes to visit her sister Frances, who married a wealthy banker, to ask for money on behalf of their mother and grandmother back in Footely. Frances isn’t thrilled by this reminder of her impoverished small-town origins. But she’s trying to climb up in Oxford society by volunteering at the Orphan, the asylum’s books need to be done before the state inspector shows up in a few weeks, and Birdie is a bookkeeper. Having neatly arranged to keep Birdie in town and draw these two storylines together, Stockett goes on to spin a compulsively readable yarn with enough plot for a half-dozen novels. Birdie and Meg become friends, Meg is adopted despite Garnett’s best efforts, Meg’s mother turns up at the Orphan demanding to know where her child is—and that’s less than a quarter of the way through a long, winding narrative that keeps piling on more dramatic developments until all loose ends are neatly, if hastily, wrapped up in the final pages. Stockett might be making a point about Southern women facing facts and standing up for themselves, but mostly this is just a satisfyingly twisty tale that should make a great miniseries.
Fans of Stockett’s bestselling debut will love this engaging follow-up.Pub Date: May 5, 2026
ISBN: 9781954118812
Page Count: 656
Publisher: Spiegel & Grau
Review Posted Online: Feb. 2, 2026
Kirkus Reviews Issue: March 1, 2026
BOOK REVIEW
Trust no one in this over-the-top tale of deception and revenge.
Dead bodies turn up in the first sentence of the prologue in McFadden’s latest domestic thriller.
The mystery of who died is at the pulsating heart of this propulsive tale. As Chapter 1 begins, Naomi arrives home to find the locks changed on the front door of the gorgeous home she shares with her husband, Jeremy, and their 5-year-old son, Teddy. Jeremy steps out the front door and convinces Naomi to move out while he has their home renovated, a plan Naomi knows nothing about. It’s all a ruse, though, as the next day Jeremy tells her he wants a divorce. Naomi is shellshocked and soon discovers that Jeremy is having an affair with Veronica, a beautiful younger woman. What seems at first like a stereotypical story about a man who leaves his wife turns into something else when Naomi decides she’ll do anything to get Veronica away from Jeremy and Teddy, and Veronica decides to fight for what she thinks she deserves. Fans of stalker novels will cringe with delight as creepy things start to happen. Teddy’s stuffed elephant, a gift from Veronica, is found impaled on a kitchen knife; Naomi suspects Jeremy is gaslighting her and that Veronica tried to poison her. A weird confrontation among Jeremy, Veronica, and Naomi at Teddy’s birthday party, to which Naomi shows up uninvited, is priceless. There are three main characters, and any or all of them may be unreliable narrators. Packing the plot with dark, gasp-inducing twists, McFadden outdoes herself in a story about how highly emotional people engage in risky behavior to get what they want—but in this novel, for better or worse, not everyone will survive.
Trust no one in this over-the-top tale of deception and revenge.Pub Date: May 26, 2026
ISBN: 9781464249631
Page Count: 368
Publisher: Poisoned Pen
Review Posted Online: April 20, 2026
Kirkus Reviews Issue: May 15, 2026
BOOK TO SCREEN
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