Holton must be getting more sleep. His fourth plunges into the murky waters of the Chicago police procedural is his least phantasmagoric, most cinematic book to date. The case begins quietly (though in fact the opening scene is the only quiet moment here) with the discovery of a dead soldier detailed to guard Astrolab Industries' arsenal of high-tech weaponry. Before you can say Rambo, an impressively armored assassin has used Astrolab's latest gear to blow up the Temple of Allah, stronghold of Minister Abdul Ali Malik, a.k.a. fence/pimp Slick Rick Johnson. The assault on Allah's emissary is only the first strike (if you don't count that army guard) in millionaire Steven Zalkin's plan to annihilate everyone who gave him a hard time during his last stretch in the Windy City 15 years ago. Since Zalkin (nÇ Martin Zykus), as Holton reveals in two chunky flashbacks, was a lowly busboy who left Chicago back then wanted for rape and aggravated assault and just having confessed to multiple homicides, that's quite a list of targets. There's Sister Mary Louise Stallings, the saintly rape victim who took holy orders instead of turning Zykus in. There's Commander Larry Cole (Chicago Blues, p. 336, etc.) and Sergeant Blackie Silvestri, the two officers who kept arresting Zykus and were forced to let him go by corrupt and incompetent superiors. There's Frank Delahanty, sozzled Times-Herald columnist who ridiculed Zykus, and who's now using his column to bait Zalkin, not even aware—as nobody else seems to notice either—that Zalkin is really Zykus. (Eerily, Zalkin is arrested once again in his present-day incarnation, and once again released by the dim- witted top brass.) Can Cole and his staunch colleagues take Zalkin as Zykus before Zalkin uses the last of his stolen armaments to reduce the Second District police station to a fine powder? Newcomers to Holton's supercharged procedurals will find this season's relatively sedate installment their best chance of hopping this runaway train.
Pub Date: Feb. 12, 1997
ISBN: 0-312-86281-4
Page Count: 384
Publisher: Forge
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1996
The racism, classism, and sexism of 50 years ago wrapped up in a stylish, sexy, suspenseful period drama about a newsroom...
Baltimore in the 1960s is the setting for this historical fiction about a real-life unsolved drowning.
In her most ambitious work to date, Lippman (Sunburn, 2018, etc.) tells the story of Maddie Schwartz, an attractive 37-year-old Jewish housewife who abruptly leaves her husband and son to pursue a long-held ambition to be a journalist, and Cleo Sherwood, an African-American cocktail waitress about whom little is known. Sherwood's body was found in a lake in a city park months after she disappeared, and while no one else seems to care enough to investigate, Maddie becomes obsessed—partly due to certain similarities she perceives between her life and Cleo's, partly due to her faith in her own detective skills. The story unfolds from Maddie's point of view as well as that of Cleo's ghost, who seems to be watching from behind the scenes, commenting acerbically on Maddie's nosing around like a bull in a china shop after getting a job at one of the city papers. Added to these are a chorus of Baltimore characters who make vivid one-time appearances: a jewelry store clerk, an about-to-be-murdered schoolgirl, "Mr. Helpline," a bartender, a political operative, a waitress, a Baltimore Oriole, the first African-American female policewoman (these last two are based on real people), and many more. Maddie's ambition propels her forward despite the cost to others, including the family of the deceased and her own secret lover, a black policeman. Lippman's high-def depiction of 1960s Baltimore and the atmosphere of the newsroom at that time—she interviewed associates of her father, Baltimore Sun journalist Theo Lippman Jr., for the details—ground the book in fascinating historical fact.The literary gambit she balances atop that foundation—the collage of voices—works impressively, showcasing the author's gift for rhythms of speech. The story is bigger than the crime, and the crime is bigger than its solution, making Lippman's skill as a mystery novelist work as icing on the cake.
The racism, classism, and sexism of 50 years ago wrapped up in a stylish, sexy, suspenseful period drama about a newsroom and the city it covers.Pub Date: July 23, 2019
ISBN: 978-0-06-239001-1
Page Count: 352
Publisher: Morrow/HarperCollins
Review Posted Online: March 30, 2019
Kirkus Reviews Issue: April 15, 2019
BOOK TO SCREEN
Tudor came out swinging with Chalk Man (2018), but this one puts her firmly on the map. Not to be missed.
When Joe Thorne takes a teaching job in the small English village of his youth, he soon realizes the darkness he's tried to forget certainly hasn’t forgotten him.
Returning to the tiny mining village of Arnhill wasn’t English teacher Joe Thorne’s first choice, and teaching at Arnhill Academy, which he attended as a boy, is the furthest thing from a dream job. But his choices are limited. A gambling problem has put him in debt to a man who will break his kneecaps, or worse, if he doesn’t get his money. Well, actually, he has a frightening woman named Gloria on hand to do that for him, and she’s got her eye on Joe. But Joe has a plan. He moves into a cottage where an Arnhill teacher recently killed her young son and then herself, writing “NOT MY SON” in blood on the wall. But beggars can’t be choosers, and Joe tries to settle in at Arnhill, where it’s soon obvious that his old foes never left, and they don’t want him in their village. Stephen Hurst, a bully Joe ran with as a kid, has a hold on the town, and his son Jeremy, an Arnhill student, is a chip off the old block. Unfortunately, Stephen shares a secret with Joe that involves Joe’s beloved sister, Annie, who disappeared when she was 8 and was very different when she returned. The events leading up to her death soon after were very strange indeed, and everything leads back to a mine shaft that is the source of ghost stories and rumors that have persisted for hundreds of years. The past and present are about to collide in chilling fashion. With Joe, Tudor avoids going the way of the unreliable narrator: He doesn’t lie to readers, even if he lies to others, and he has a snarky sense of humor that adds levity. Tudor maintains a tone of creeping dread throughout the book, of something lingering always in the background, coyly hiding its face while whispering promises of very bad things to come. In the last quarter, however, she goes for broke with outright horror, giving readers an effective jolt of adrenaline that will carry them all the way to the terrifying conclusion. Readers won’t know what hit them.
Tudor came out swinging with Chalk Man (2018), but this one puts her firmly on the map. Not to be missed.Pub Date: Feb. 5, 2019
ISBN: 978-1-5247-6101-1
Page Count: 288
Publisher: Crown
Review Posted Online: Nov. 12, 2018
Kirkus Reviews Issue: Dec. 1, 2018
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