In his seventh Antonelli outing (Breach of Trust, 2004, etc.), the often prosy Buffa has found an effective balance. His...
Righteous Frisco attorney, unwillingly drawn into the world of celebrity lawyer punditry, defends a younger version of himself on a murder charge.
Renowned San Francisco courtroom star Joseph Antonelli, who elegantly narrates his own story, succumbs to the pressure of law partner Albert Craven to appear on the popular Brian Allen Show, a public affairs program featuring talking heads at loggerheads. Other panelists include telegenic trial lawyers Paula Constable (women’s rights), Daphne McMillan (district attorney) and earnest young law professor Julian Sinclair, a firebrand who reminds the middle-aged Antonelli (and Craven) of himself as a young lawyer. So impressive is Sinclair that Craven instructs Antonelli to recruit him for their firm. Antonelli thus befriends the earnest Sinclair and is near closing the deal when he gets an uncharacteristically frantic late-night call for help from Sinclair. The brutally murdered body of Daphne McMillan is at Sinclair’s house. Antonelli agrees to defend him, though not at first convinced of his innocence. The case is made more difficult by the common belief that Daphne and Sinclair were lovers; Sinclair claims he was only her close friend and confidant. She poured out her heart to him about her unhappy marriage to Australian industrialist Robert McMillan (Rupert Murdoch–like), who emerges as the most likely suspect if Sinclair is innocent. The sincerity and integrity of prosecuting attorney Maddy Foster make the trial an extreme challenge for Antonelli, and the verdict comes about halfway through the story. Further plot developments, involving the aforementioned players, spring from the trial’s outcome and expand on Buffa’s theme of the justice system compromised if not perverted by celebrity and the sensationalism of media play, with Antonelli embarking on an obsessive quest for the entire truth.
In his seventh Antonelli outing (Breach of Trust, 2004, etc.), the often prosy Buffa has found an effective balance. His murder plot is a McGuffin for interesting ruminations on 21st-century justice.Pub Date: April 21, 2005
ISBN: 0-399-15281-4
Page Count: 304
Publisher: Putnam
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: March 1, 2005
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
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. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
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. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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