A perpetually timely page-turner that is anything but subtle.
Following Whisper Network (2019), Baker is back with a second pulpy feminist thriller, this time set in an idyllic suburb just outside of Austin where all the women are high-powered and all the husbands are helpful—or at least, so it seems.
Nora Spangler, up for partner and pregnant with her second child, is barely hanging on. She loves her husband, Hayden, she does, only why does everything, she can’t help thinking, have to fall to her? In addition to her full-time job as a personal injury attorney at Greenberg Schwall, she is the packer of lunches and the keeper of schedules and the taker-out of trash. “It’s like he thinks their house, their toddler, their lives are kept on track by magic,” she thinks, trying to quell her constant rage and mostly failing. At least until, while house-hunting in advance of the new baby, Nora and Hayden discover Dynasty Ranch. Dynasty Ranch is not like other neighborhoods. Here, all the wives are accomplished and all the husbands are serenely doting—Stepford in reverse. When a few of the women approach Nora about taking on a wrongful death suit, the result of a devastating house fire that killed one of the husbands, her initial hesitation about taking a case involving people who might soon be her neighbors doesn’t last. The case is a double opportunity: a way to prove her value to the firm and a chance to make the kind of new friends she so desperately needs. And it works. But as she begins to dig deeper into the house fire, she discovers that Dynasty Ranch isn’t what it seems. Just to really hammer home her point, Baker periodically intersperses fictional online comment threads between chapters, a Greek chorus of anonymous voices (“TwinMommy,” “WillWork4Cupcakes67”) debating how much of their predicament is or isn’t working mothers’ faults. The novel isn’t breaking new ground, in terms of social commentary; still, it’s a delightfully cutting romp.
A perpetually timely page-turner that is anything but subtle.Pub Date: Aug. 3, 2021
ISBN: 978-1-250-31951-7
Page Count: 352
Publisher: Flatiron Books
Review Posted Online: June 15, 2021
Kirkus Reviews Issue: July 1, 2021
BOOK TO SCREEN
SEEN & HEARD
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
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
BOOK REVIEW
BOOK TO SCREEN
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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