Cottam (The Memory of Trees, 2013, etc.) is adept at creating an atmosphere so disquieting that a sliver of ice lodges in...

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THE LUCIFER CHORD

Fans await the return of a mythic rock star who vanished in 1975.

Martin Mear was the writer and lead singer for the Ghost Legion, a band equal to the Beatles and the Stones. When Ruthie Gillespie is offered a job writing a 20,000-word essay to accompany a new release of the Legion’s six albums, she’s interested not just for the large fee, but to help get over a ruined love affair and her unsettling encounters with an ancient, sinister cult she knows as the Jericho Society. All the Legion members are dead, but Carter Melville, who’s in charge of the project, arranges for Ruthie to meet the most important people in Martin’s life. Her first meeting with Frederica Daunt, a medium who claims to be in touch with Martin and whose father, Sebastian, did the cover art for Martin’s first album, is hair-raising. Her second interview is with Martin’s girlfriend, famous groupie Paula Tort, who now heads a fashion empire. Terry Maloney, a roadie for the band who was close with Martin, is now Sir Terence, chairman of a merchant bank. Last is Martin’s daughter, April Mear, conceived in the hippie commune where Martin learned to play guitar and came up with the idea for his first blockbuster album, “King Lud.” The charismatic and talented Martin was into black magic, and his last three untitled albums are said to contain mystic clues. Ruthie’s visit to the London apartment of Martin’s uncle Max Askew, who worked for the firm of Martens and Degree, a cover for the Jericho Society, is disturbing, and when the real estate agent is found dead in the haunted apartment, she’s certain it was murder. The friend she’s staying with and a man she’s dating, both of whom have had bad experiences with Jericho, do all they can to help her. Every terrifying experience she has makes her more determined to find the truth. Is Martin Mear still alive?

Cottam (The Memory of Trees, 2013, etc.) is adept at creating an atmosphere so disquieting that a sliver of ice lodges in your brain and remains until the final twist.

Pub Date: Sept. 1, 2018

ISBN: 978-0-7278-8803-7

Page Count: 240

Publisher: Severn House

Review Posted Online: June 18, 2018

Kirkus Reviews Issue: July 1, 2018

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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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