Once again, Coben marries his two greatest strengths—masterfully paced plotting that leads to a climactic string of...

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FOOL ME ONCE

Coben (The Stranger, 2015, etc.) hits the bull’s eye again with this taut tale of a disgraced combat veteran whose homefront life is turned upside down by an image captured by her nanny cam.

Recent widows can’t be too careful, and the day she buries the husband who was shot by a pair of muggers in Central Park, Maya Burkett installs a concealed camera in her home to keep an eye on Lily, her 2-year-old daughter, and her nanny, Isabella Mendez , while she’s out at her job as a flight instructor. She’s shocked beyond belief when she checks the footage and sees images of her murdered husband returned from the grave to her den. Confronted with the video, Isabella claims she doesn’t see anything that looks like Joe Burkett, then blasts Maya with pepper spray and takes off with the memory card. Should Maya go to the police? They were no help when her sister, Claire, was killed in a home invasion while she was deployed in the Middle East, and she doesn’t trust Roger Kierce, the NYPD homicide detective heading the investigation of Joe’s murder. Besides, Maya’s already juggling a heavy load of baggage. Whistle-blower Corey Rudzinski ended her military career when he posted footage of her ordering a defensive airstrike that killed five civilians, and she’s just waiting for him to release the audio feed that would damage her reputation even more. So after Kierce drops a bombshell—the same gun was used to shoot both Joe and Claire—Maya launches her own investigation, little knowing that it will link both murders to the death more than 10 years ago of Joe’s brother Andrew and the secrets the wealthy and powerful Burkett family has been hiding ever since.

Once again, Coben marries his two greatest strengths—masterfully paced plotting that leads to a climactic string of fireworks and the ability to root all the revelations in deeply felt emotions—in a tale guaranteed to fool even the craftiest readers a lot more than once.

Pub Date: March 22, 2016

ISBN: 978-0-525-95509-2

Page Count: 400

Publisher: Dutton

Review Posted Online: Jan. 21, 2016

Kirkus Reviews Issue: Feb. 1, 2016

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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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