Even though you just know Box isn’t going to put an end to his highly successful franchise by blowing his lead characters to...
Terrorists, libertarians, and wild cards duke it out in game warden Joe Pickett’s Wyoming.
Nate Romanowski, who doesn’t like being called a homicidal libertarian folk hero even though the shoe fits like a glove, has been minding his own business, miles from civilization, when a phone call between his lover, Olivia Brannan, and her mother, who’s dying in Louisiana, reveals his whereabouts to a pair of clean-cut sharpies calling themselves Brian Tyrell and Keith Volk. Unless Nate wants to stand trial along with Olivia for a gaggle of felonies he’s accumulated over previous installments (Endangered, 2015, etc.), they tell him, he’d better sign on with the Wolverines, a group of disaffected government freelancers sick of federal rules and regulations, to make contact with a terrorist who’s landed in the Red Desert. They hope the target, Muhammad Ibraaheem, will open up to Nate, who shares his anti-government idealism and his love of falconry. No sooner has Nate taken off to track down Ibby than outgoing Wyoming Gov. Spencer Rulon, apprised of his disappearance, persuades Nate’s old friend, game warden Joe Pickett, to go hunting for him. Despite the obstacles, ranging from a highly irritated grizzly bear to the obligatory involvement of Joe’s family—this time his daughter Sheridan, a college senior who decides to go camping at the worst possible time and place—Nate soon locates and befriends Ibby, and Joe eventually finds Nate. Nothing else goes according to plan, mainly because Ibby’s plans are more apocalyptic than Nate can imagine, and other parties turn out to be interested in the high-octane proceedings.
Even though you just know Box isn’t going to put an end to his highly successful franchise by blowing his lead characters to kingdom come, you can’t help turning the pages and holding your breath until you find out where this scary, all-too-plausible caravan is heading.Pub Date: March 8, 2016
ISBN: 978-0-399-17660-9
Page Count: 384
Publisher: Putnam
Review Posted Online: Dec. 22, 2015
Kirkus Reviews Issue: Jan. 1, 2016
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
One small step, no giant leaps.
Weir (The Martian, 2014) returns with another off-world tale, this time set on a lunar colony several decades in the future.
Jasmine “Jazz” Bashara is a 20-something deliveryperson, or “porter,” whose welder father brought her up on Artemis, a small multidomed city on Earth’s moon. She has dreams of becoming a member of the Extravehicular Activity Guild so she’ll be able to get better work, such as leading tours on the moon’s surface, and pay off a substantial personal debt. For now, though, she has a thriving side business procuring low-end black-market items to people in the colony. One of her best customers is Trond Landvik, a wealthy businessman who, one day, offers her a lucrative deal to sabotage some of Sanchez Aluminum’s automated lunar-mining equipment. Jazz agrees and comes up with a complicated scheme that involves an extended outing on the lunar surface. Things don’t go as planned, though, and afterward, she finds Landvik murdered. Soon, Jazz is in the middle of a conspiracy involving a Brazilian crime syndicate and revolutionary technology. Only by teaming up with friends and family, including electronics scientist Martin Svoboda, EVA expert Dale Shapiro, and her father, will she be able to finish the job she started. Readers expecting The Martian’s smart math-and-science problem-solving will only find a smattering here, as when Jazz figures out how to ignite an acetylene torch during a moonwalk. Strip away the sci-fi trappings, though, and this is a by-the-numbers caper novel with predictable beats and little suspense. The worldbuilding is mostly bland and unimaginative (Artemis apartments are cramped; everyone uses smartphonelike “Gizmos”), although intriguing elements—such as the fact that space travel is controlled by Kenya instead of the United States or Russia—do show up occasionally. In the acknowledgements, Weir thanks six women, including his publisher and U.K. editor, “for helping me tackle the challenge of writing a female narrator”—as if women were an alien species. Even so, Jazz is given such forced lines as “I giggled like a little girl. Hey, I’m a girl, so I’m allowed.”
One small step, no giant leaps.Pub Date: Nov. 14, 2017
ISBN: 978-0-553-44812-2
Page Count: 320
Publisher: Crown
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 15, 2017
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