With his digital-age The Avenger, Hurwitz races by minor plot holes and spins a web of relentless intrigue with bursts of...



Kicking off a new series, Hurwitz (Don’t Look Back, 2014, etc.) sets young Evan Smoak, a one-time government assassin, to work as a pro bono equalizer—one call brings a criminal to justice.

The 9/11 terror attacks made major bad guys targets for undercover termination, and so a darker-than-black government agency created the Orphan Program. That group trained throwaway kids as the world’s most efficient assassins "for solo, offline covert operations." Then "drones changed everything," and the Orphans were left in limbo. Orphan X, Evan, decided to freelance, his impetus being his belief that his Orphan mentor (and substitute father), Jack Johns, was murdered. Soon, a Hezbollah arms chief, a dealer in fissile material, and a serial rapist receive Evan’s justice. All it takes is a quick call to his victim’s hotline, 1-855-2NOWHERE. Evan’s back story arrives in short, scene-style chapters. The primary narrative follows Evan as he takes on new projects. His lair is a luxury Los Angeles condo, the atmosphere set by neighboring busybodies, where he has a secret vault with Google-level technology. Hurwitz offers a glimpse of Evan’s modus operandi as the assassin eliminates a dirty cop coercing an immigrant teen into prostitution. Then the tale spins down into double crosses and duplicities as Evan becomes a target and other former Orphans enter the fray. High-tech gadgetry abounds—microscopic internal GPS transmitters, a "fully pixelated contact lens" for digital communication—but Evan is old school too, mastering esoteric Filipino, Japanese, and Indonesian martial arts. Hurwitz closes with an unexpected narrative left turn, but even though he’s painted Evan adequately, including vague hints of possible romance with neighbor Mia, a widowed single mother, Evan will need another adventure or two before he grows into an empathetic hero.

With his digital-age The Avenger, Hurwitz races by minor plot holes and spins a web of relentless intrigue with bursts of tensely sketched violence.

Pub Date: Jan. 19, 2016

ISBN: 978-1-250-06784-5

Page Count: 368

Publisher: Minotaur

Review Posted Online: Nov. 4, 2015

Kirkus Reviews Issue: Nov. 15, 2015

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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. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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Amateurish, with a twist savvy readers will see coming from a mile away.


A woman accused of shooting her husband six times in the face refuses to speak.

"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.

Amateurish, with a twist savvy readers will see coming from a mile away.

Pub Date: Feb. 5, 2019

ISBN: 978-1-250-30169-7

Page Count: 304

Publisher: Celadon Books

Review Posted Online: Nov. 4, 2018

Kirkus Reviews Issue: Nov. 15, 2018

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