The final installment in an announced trilogy, following Marked for Life (2016) and Marked for Revenge (2017), this is...

SLOWLY WE DIE

Back for a third adventure, Swedish prosecutor Jana Berzelius is forced to harbor escaped murder suspect Danilo Peña—a childhood friend–turned-nemesis—as the city of Norrköping is terrorized by a second homicidal menace.

Danilo is in possession of Jana's childhood diaries and notebooks, which she badly needs in order to penetrate blocked memories of her early years. She knows her birth parents were murdered by a child trafficking ring and—alongside Danilo, the only person with access to her past—she was trained by her captors as a child soldier. But the rest is mostly a blank. When Danilo, who grew up to be a drug smuggler, offers to turn over all her jottings in exchange for her letting him hide in her apartment, she can't refuse—especially if she wants to keep her reputation from being blemished by unseemly truths. Meanwhile, a serial killer is doing horrendous things to his victims, beginning with a female nurse who is found tied to a chair with her amputated hands on the floor. The obvious suspect is a pill-popping paramedic with connections to all the victims. Alternating and overlapping narratives with musical precision, Schepp may be the smoothest storyteller among the new crop of Nordic noir aces. While the gruesomeness of the murders seems imported from a nastier, more intense kind of thriller, the ingenious plot reveals and hidden connections keep you glued to the action. So, in a sad and subtle way, does the sense of helplessness that infects the relationships in the book, including the one between Jana and her father, a corrupt prosecutor left brain damaged by a recent suicide attempt.

The final installment in an announced trilogy, following Marked for Life (2016) and Marked for Revenge (2017), this is Schepp's best effort yet in its deft blend of psychological suspense and procedural X's and O's.

Pub Date: June 19, 2018

ISBN: 978-0-7783-1966-5

Page Count: 432

Publisher: Harlequin MIRA

Review Posted Online: April 3, 2018

Kirkus Reviews Issue: April 15, 2018

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

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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

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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

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