Somewhere deep inside this wordy morass there's a fascinating story trying to get out, since many of Hecht's ideas are...



Talky, slow-moving philosophical genetic thriller about the nature of evil.

What if you could actually get to the root of all evil and it wasn't money? This is the basic premise of Hecht's story about Ryan McCloud and his equally brilliant wife, Jess, along with their quirky associates in a New England think tank, who are hired by a wealthy industrialist to once and for all uncover the cause of violence. By studying a handful of brutal offenders, murderers, rapists, terrorists, and ex-Nazis, Ryan, Jess, and their gang of eggheads and computer nerds hope to isolate a gene, or perhaps a virus, that turns men (and sometimes women) into killing machines. Using impressive research, Hecht (Skull Session, 1998) spins a tale that slogs along, offering the interesting idea that maybe “humanity's worst excesses, throughout history, were plagues . . . ,” or “large populations can be subject to external neurological influences, large numbers of people can be made to turn dysfunctional and antisocial and ultimately violent.” The first hundred pages or so are rough going, with far too much unnecessary and annoying exposition that desperately needed the hand of a skilled editor. In fact, the story doesn't start to take off until Jess is kidnapped. Unfortunately, even then it flounders, as Ryan travels to Africa, then Europe, looking for clues as to who took his wife and for what reason. On hand are the usual suspects: the CIA, the FBI, religious fanatics, and the military-industrial complex. The solution is so obvious, however, that Ryan could have saved all those air miles and stayed home.

Somewhere deep inside this wordy morass there's a fascinating story trying to get out, since many of Hecht's ideas are certainly provocative enough to make for an exciting thriller. Too bad this isn't it.

Pub Date: Jan. 1, 2001

ISBN: 0-609-60729-4

Page Count: 384

Publisher: Crown

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Nov. 1, 2000

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An enjoyable, cozy novel that touches on tough topics.


A group of strangers who live near each other in London become fast friends after writing their deepest secrets in a shared notebook.

Julian Jessop, a septuagenarian artist, is bone-crushingly lonely when he starts “The Authenticity Project”—as he titles a slim green notebook—and begins its first handwritten entry questioning how well people know each other in his tiny corner of London. After 15 years on his own mourning the loss of his beloved wife, he begins the project with the aim that whoever finds the little volume when he leaves it in a cafe will share their true self with their own entry and then pass the volume on to a stranger. The second person to share their inner selves in the notebook’s pages is Monica, 37, owner of a failing cafe and a former corporate lawyer who desperately wants to have a baby. From there the story unfolds, as the volume travels to Thailand and back to London, seemingly destined to fall only into the hands of people—an alcoholic drug addict, an Australian tourist, a social media influencer/new mother, etc.—who already live clustered together geographically. This is a glossy tale where difficulties and addictions appear and are overcome, where lies are told and then forgiven, where love is sought and found, and where truths, once spoken, can set you free. Secondary characters, including an interracial gay couple, appear with their own nuanced parts in the story. The message is strong, urging readers to get off their smartphones and social media and live in the real, authentic world—no chain stores or brands allowed here—making friends and forming a real-life community and support network. And is that really a bad thing?

An enjoyable, cozy novel that touches on tough topics.

Pub Date: Feb. 4, 2020

ISBN: 978-1-9848-7861-8

Page Count: 368

Publisher: Pamela Dorman/Viking

Review Posted Online: Oct. 27, 2019

Kirkus Reviews Issue: Nov. 15, 2019

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A strict report, worthy of sympathy.


A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.

"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….

A strict report, worthy of sympathy.

Pub Date: June 15, 1951

ISBN: 0316769177

Page Count: -

Publisher: Little, Brown

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: June 15, 1951

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