Fast-moving plot, elementary prose: another zippy read from megaselling Johansen (Body of Lies, 2001, etc.).
How to catch a girl guerrilla: use her son as bait.
Murder and mayhem were a part of growing up for Elena Kyler, beautiful daughter of an American mercenary and a left-wing Colombian freedom fighter. Trained by her father in the killing arts, Elena became a member of a rebel group herself, happily harassing drug kingpin Rico Chavez until she was betrayed and essentially sold to him. For fun, Chavez liked to fight his captured enemies to the death, and he almost does the same with Elena, along with raping her repeatedly. As the story begins, Ben Forbes, a DEA agent based in Colombia, knows that Elena has escaped from prison, and that Rico Chavez will undoubtedly have her killed—unless Ben can find her first. Enter Sean Galen, a mysterious agent with a cute, vaguely English accent who usually works for the good guys (he specializes in rescuing American execs who’ve been kidnapped by South American bad guys—a mixed bag of leftist rebels, druglords, and paramilitary types). Fed up with Chavez and Colombian crooks in general, Sean’s willing to join forces with the DEA just this once. But there’s an interesting wrinkle: Elena’s angelic five-year-old son was fathered by none other than Rico Chavez, whose macho ethic compels him to take the boy from his mother, by force if necessary. So Forbes and Galen spirit Elena and little Barry away to California. Chavez’s evil henchmen follow, however, and gun down good old Forbes. Nothing daunted, Galen and Elena decide to hide somewhere else—and begin a hot affair. But Chavez tries to lure Elena out of hiding by threatening to kill her good-for-nothing brother Luis. And then the little boy is kidnapped. . . . And so on.
Fast-moving plot, elementary prose: another zippy read from megaselling Johansen (Body of Lies, 2001, etc.).Pub Date: Oct. 1, 2002
ISBN: 0-553-80245-3
Page Count: 296
Publisher: Bantam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2002
Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.
Another sweltering month in Charlotte, another boatload of mysteries past and present for overworked, overstressed forensic anthropologist Temperance Brennan.
A week after the night she chases but fails to catch a mysterious trespasser outside her town house, some unknown party texts Tempe four images of a corpse that looks as if it’s been chewed by wild hogs, because it has been. Showboat Medical Examiner Margot Heavner makes it clear that, breaking with her department’s earlier practice (The Bone Collection, 2016, etc.), she has no intention of calling in Tempe as a consultant and promptly identifies the faceless body herself as that of a young Asian man. Nettled by several errors in Heavner’s analysis, and even more by her willingness to share the gory details at a press conference, Tempe launches her own investigation, which is not so much off the books as against the books. Heavner isn’t exactly mollified when Tempe, aided by retired police detective Skinny Slidell and a host of experts, puts a name to the dead man. But the hints of other crimes Tempe’s identification uncovers, particularly crimes against children, spur her on to redouble her efforts despite the new M.E.’s splenetic outbursts. Before he died, it seems, Felix Vodyanov was linked to a passenger ferry that sank in 1994, an even earlier U.S. government project to research biological agents that could control human behavior, the hinky spiritual retreat Sparkling Waters, the dark web site DeepUnder, and the disappearances of at least four schoolchildren, two of whom have also turned up dead. And why on earth was Vodyanov carrying Tempe’s own contact information? The mounting evidence of ever more and ever worse skulduggery will pull Tempe deeper and deeper down what even she sees as a rabbit hole before she confronts a ringleader implicated in “Drugs. Fraud. Breaking and entering. Arson. Kidnapping. How does attempted murder sound?”
Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.Pub Date: March 17, 2020
ISBN: 978-1-9821-3888-2
Page Count: 352
Publisher: Scribner
Review Posted Online: Dec. 22, 2019
Kirkus Reviews Issue: Jan. 15, 2020
One small step, no giant leaps.
Weir (The Martian, 2014) returns with another off-world tale, this time set on a lunar colony several decades in the future.
Jasmine “Jazz” Bashara is a 20-something deliveryperson, or “porter,” whose welder father brought her up on Artemis, a small multidomed city on Earth’s moon. She has dreams of becoming a member of the Extravehicular Activity Guild so she’ll be able to get better work, such as leading tours on the moon’s surface, and pay off a substantial personal debt. For now, though, she has a thriving side business procuring low-end black-market items to people in the colony. One of her best customers is Trond Landvik, a wealthy businessman who, one day, offers her a lucrative deal to sabotage some of Sanchez Aluminum’s automated lunar-mining equipment. Jazz agrees and comes up with a complicated scheme that involves an extended outing on the lunar surface. Things don’t go as planned, though, and afterward, she finds Landvik murdered. Soon, Jazz is in the middle of a conspiracy involving a Brazilian crime syndicate and revolutionary technology. Only by teaming up with friends and family, including electronics scientist Martin Svoboda, EVA expert Dale Shapiro, and her father, will she be able to finish the job she started. Readers expecting The Martian’s smart math-and-science problem-solving will only find a smattering here, as when Jazz figures out how to ignite an acetylene torch during a moonwalk. Strip away the sci-fi trappings, though, and this is a by-the-numbers caper novel with predictable beats and little suspense. The worldbuilding is mostly bland and unimaginative (Artemis apartments are cramped; everyone uses smartphonelike “Gizmos”), although intriguing elements—such as the fact that space travel is controlled by Kenya instead of the United States or Russia—do show up occasionally. In the acknowledgements, Weir thanks six women, including his publisher and U.K. editor, “for helping me tackle the challenge of writing a female narrator”—as if women were an alien species. Even so, Jazz is given such forced lines as “I giggled like a little girl. Hey, I’m a girl, so I’m allowed.”
One small step, no giant leaps.Pub Date: Nov. 14, 2017
ISBN: 978-0-553-44812-2
Page Count: 320
Publisher: Crown
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 15, 2017
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