More complicated and somewhat sillier than the previous Cade novels; fans of nonstop action can skim over the politicizing...


Farnsworth’s universe of vampires and otherworldly creatures comes alive for the third time in this latest installment of the Nathaniel Cade series.

Blood gushes against a political backdrop in this aptly named testament to gore. Cade, a vampire who was caught and bound to the service of the president by a voodoo practitioner in another century, has sworn to protect the nation and its leader. Accompanied by Zach Barrows, who in another life worked on President Samuel Curtis’ election campaign, Cade has spent the previous three years working to keep the underworld at bay. Although Americans don’t realize it, in Cade’s world the things that go bump in the night are as real as trees and grass, but the government has spent decades covering up, collecting and destroying proof they exist. Every once in a while, though, something breaks through to this side and Cade is called in to put it down. A creature that moves with lightening speed and astonishing strength, Cade has the power to mend his own wounds and is an unparalleled fighter. However, he has almost met his match in the Boogeyman, a legendary figure that draws its power and thirst for blood from the proliferation of killers and sadists that populate the planet. While the president is on the campaign trail, evidence surfaces that the Bogeyman is back in action and preparing to take out the nation’s leader, and Cade and Zach are dispatched to stop him and his cohorts. Chock full of violence and disembowelment, the book follows Cade as he tracks the killer through Middle America. Farnsworth manages to slow down the pace by inserting ham-fisted political rhetoric into the story; he would have been better off sticking to the action. Instead, he chose to turn Curtis into a certain not-very-thinly-described incumbent and muddy what is essentially an action story with politics.

More complicated and somewhat sillier than the previous Cade novels; fans of nonstop action can skim over the politicizing passages to get to the blood and guts, while ignoring the author’s tendency to preach politics.

Pub Date: May 1, 2012

ISBN: 978-0-399-15893-3

Page Count: 400

Publisher: Putnam

Review Posted Online: March 19, 2012

Kirkus Reviews Issue: April 1, 2012

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A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

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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. 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.


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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