No matter how intense the action gets, the outcome, for better or worse, is never in doubt.
An emotional and highly deceptive plea entices forensic sculptor Eve Duncan from Atlanta to Africa, where all hell promptly breaks loose.
Journalist Jill Cassidy wants Eve to drop what she’s doing and book passage to the fictional country of Maldara, where an attack by Botzan rebels on a village school has left 27 children dead. Eve can render the bereaved parents a priceless service, urges Jill, if she uses her matchless skills to reconstruct busts of the deceased from their skulls, and she plies Eve with enough sob-story details to overcome her resistance. But she doesn’t tell Eve the truth, or at least not the whole truth. The real reason Jill and CIA agent Jed Novak want Eve to come is so she can determine that a 28th skull—that of mercenary Nils Varak—isn’t really Varak’s at all but another skull intended to make the world believe he’s dead. Eve, already stung by Jill’s deception, points out that the skull has tested positive for Varak’s DNA; Jill counters that it must have been faked. While Jill and Novak try to come up with evidence that would support their theory and Eve begins her painstaking reconstructive work on the skulls, Zahra Kiyani, who accepted the presidency of Maldara after her father, the incumbent, was assassinated, seizes more and more greedily the power she thinks is due her as a descendant of Cleopatra’s daughter Kiya and the country’s rightful queen. She uses her sexual dominance over U.N. diplomat Edward Wyatt to wring concessions from the international community and holds terse exchanges with an unseen party over what to do about this interloping American. How can Eve and her ragtag allies possibly prevail against such entrenched and well-armed adversaries? Readers who take this last question seriously are clearly newcomers to Johansen’s venerable franchise (Dark Tribute, 2019, etc.).
No matter how intense the action gets, the outcome, for better or worse, is never in doubt.Pub Date: July 30, 2019
ISBN: 978-1-5387-1308-2
Page Count: 432
Publisher: Grand Central Publishing
Review Posted Online: May 12, 2019
Kirkus Reviews Issue: June 1, 2019
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. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
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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