Classic Cussler, offering action in an interesting setting.
Cussler and company add to his fifth series, following the handsome young investigator Isaac Bell as he goes solo for the first time on a case for the Van Dorn Detective Agency.
The year is 1902, and Bell is undercover in West Virginia investigating sabotage in a mine owned by ruthless John "Black Jack" Gleason, owner of the Gleason Consolidated Coal & Coke Company. The tall, blond-haired Bell stands out among hard-worn immigrant mining crews, all the more so since he is nearly killed while attempting to stop a runaway train of tipple cars. Cussler and Scott dig up interesting historical scene-setting factoids, including references to esoteric classic automobiles, Pittsburgh’s posh Duquesne Club, and the history of massacres and brutal strikebreaking as unions begin to organize. The action shifts from the dangerous depths of a coal mine to Wall Street, to a confrontation in a tunnel being dug for the New York subway and to a riverboat battle between two paddle-wheelers. There are deft characterizations—Bell’s detective crew, Kisley and Fulton, explosives and muscle; Wish Clarke, a "crack sleuth" occasionally in the bottle; Bell’s nemesis, Henry Clay, illegitimate offspring of a bohemian artist, rejected Van Dorn protégé and now an amoral double agent; Jim Higgins, pacifist union organizer, and his beautiful, firebrand radical sister, Mary; and Archibald Angel Abbott IV, master of disguise—and the requisite hard-boiled dialogue like, "[You’ll] be waiting in Hell for the next batch to come down and tell you who was laughing. Drop 'em and elevate!" Clay morphs into Claggart, agent provocateur allied with nefarious monopolist manipulator Judge James Congdon, and Bell ricochets from West Virginia to Pittsburgh, New York City and Cincinnati, leaving in his wake gun battles, knife fights and explosions—it helps that he’s heir to a Boston banking fortune, has friends with private railcars and need not rely on expense accounting—working to prevent Clay-Claggart-Congdon from instigating a war that will wipe out striking miners and their families.
Classic Cussler, offering action in an interesting setting.Pub Date: March 5, 2013
ISBN: 978-0-399-16177-3
Page Count: 384
Publisher: Putnam
Review Posted Online: Jan. 20, 2013
Kirkus Reviews Issue: Feb. 1, 2013
Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.
Another sweltering month in Charlotte, another boatload of mysteries past and present for overworked, overstressed forensic anthropologist Temperance Brennan.
A week after the night she chases but fails to catch a mysterious trespasser outside her town house, some unknown party texts Tempe four images of a corpse that looks as if it’s been chewed by wild hogs, because it has been. Showboat Medical Examiner Margot Heavner makes it clear that, breaking with her department’s earlier practice (The Bone Collection, 2016, etc.), she has no intention of calling in Tempe as a consultant and promptly identifies the faceless body herself as that of a young Asian man. Nettled by several errors in Heavner’s analysis, and even more by her willingness to share the gory details at a press conference, Tempe launches her own investigation, which is not so much off the books as against the books. Heavner isn’t exactly mollified when Tempe, aided by retired police detective Skinny Slidell and a host of experts, puts a name to the dead man. But the hints of other crimes Tempe’s identification uncovers, particularly crimes against children, spur her on to redouble her efforts despite the new M.E.’s splenetic outbursts. Before he died, it seems, Felix Vodyanov was linked to a passenger ferry that sank in 1994, an even earlier U.S. government project to research biological agents that could control human behavior, the hinky spiritual retreat Sparkling Waters, the dark web site DeepUnder, and the disappearances of at least four schoolchildren, two of whom have also turned up dead. And why on earth was Vodyanov carrying Tempe’s own contact information? The mounting evidence of ever more and ever worse skulduggery will pull Tempe deeper and deeper down what even she sees as a rabbit hole before she confronts a ringleader implicated in “Drugs. Fraud. Breaking and entering. Arson. Kidnapping. How does attempted murder sound?”
Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.Pub Date: March 17, 2020
ISBN: 978-1-9821-3888-2
Page Count: 352
Publisher: Scribner
Review Posted Online: Dec. 22, 2019
Kirkus Reviews Issue: Jan. 15, 2020
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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