Enough material for an interesting novella; the rest is padding.

READ REVIEW

ALICE'S ISLAND

In Spanish filmmaker Arévalo’s first novel to appear in English, a widow chooses the least efficient way to investigate her late husband’s secret life.

Alice’s husband, Chris, dies in a car crash while returning from a business trip. She is appalled to learn that the crash occurred along a route he couldn’t have taken—unless he had lied about his whereabouts that night. And Chris “never lied.” Through an arduous process of reviewing security tapes, Alice manages to retrace Chris’ steps to tiny (and fictitious) Robin Island, located near Nantucket and Martha’s Vineyard. Alice moves to the island with her daughters, 6-year-old Olivia and baby Ruby. Happening conveniently—too conveniently—on a full-service spy store, Alice equips herself for a campaign to learn what her husband was doing on Robin Island. She plants listening devices and cameras in the homes of most of her island acquaintances—the population is small but large enough to supply a confusing array of characters, whose connections to Chris range from unclear to unlikely. Why doesn’t Alice simply ask people if they’d seen Chris, whose profession was selling and installing tennis courts? She does but not before resorting to antic subterfuge that takes up most of the book. Unfortunately, eavesdropping on mundane conversations does not make for riveting reading. The over-the-top spying does nothing to illuminate Alice’s stubbornly opaque character and will prove, thanks to a passably absorbing final reveal, largely irrelevant. An affair with a married dentist, whose wife is seriously depressed, renders Alice still less sympathetic; even before establishing Chris’ guilt, she’s seeking pre-emptive, posthumous revenge. Attempts at humor are awkward or perhaps lost in translation, for instance, Alice’s flagrantly unhousebroken rescue dog, Pony. The spy-shop owner’s speech patterns are genuinely comic, though probably inadvertently so. Overall the English prose is labored and the dialogue leaden and/or stilted—perhaps the translation from the original Spanish is at fault.

Enough material for an interesting novella; the rest is padding.

Pub Date: April 16, 2019

ISBN: 978-1-5011-7195-6

Page Count: 400

Publisher: Atria

Review Posted Online: Feb. 4, 2019

Kirkus Reviews Issue: Feb. 15, 2019

Did you like this book?

No Comments Yet

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

DEVOLUTION

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

Did you like this book?

No Comments Yet

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

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

Did you like this book?

No Comments Yet
more