Repairman Jack, the adaptation of The Tomb (1984), is now in pre-production—though not with Arnold.

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GATEWAYS

Seventh in the Repairman Jack series (The Haunted Air, 2002, etc.), which keeps expanding its supernatural background while shrinking all into an amoebic typeface.

The series began and supposedly takes place in the mid- to late-’80s, while we have references to 9/11, Homeland Security, and recent songs. Although Jack fights The Otherness, an evil entity, throughout the various installments, he’s guided (blindly) by a benign Anti-Otherness entity, which apparently checks the evil entity’s each bad intent by moving Jack about to repair cracks in humankind. Wilson deepens Jack’s character by having Jack’s pregnant girlfriend Gia beg him to join the human race and stop living between the cracks—Jack has no Social Security number, has never filed a 1040 or paid a cent in taxes, is never photographed or fingerprinted, avoids credit cards, etc. And Gia has inner warnings that The Otherness wants their baby. (Jack, by the way, sounds like Arnold—who fought The Entity in End of Days—and has Schwarzenegger’s brand of humor.) Wilson hairpins away from the Gia problem by having Jack fly off to Florida to attend his comatose dad, who’s been in a car accident outside his seniors’ community, Gateways South. An accident devised by The Otherness? Jack wonders. Meanwhile, in the Everglades, white-headed young Semelee, a girl with a two-headed snapping turtle who belongs to a gang of misshapen beggars, has a talent that senses Jack’s approach by plane. At the hospital he meets Anya Mundy, Dad’s Ruth Gordon–ish neighbor, who tells Jack there’s more to his father than he ever dreamed. Seniors are dying, rather unnaturally, by spider, bird, and snake. As sacrifices? Jack must now learn Dad’s secrets to protect him. What are these weird lights floating up from the Everglades? At last he meets The Otherness, Rasalom, who lets Jack live but promises great future pain.

Repairman Jack, the adaptation of The Tomb (1984), is now in pre-production—though not with Arnold.

Pub Date: Nov. 1, 2003

ISBN: 0-765-30690-5

Page Count: 336

Publisher: Forge

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 2003

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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

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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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