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POINT OF IMPACT

Big and brawny British police procedural—London cop vs. serial killer and cohorts—by the talented author of Glory and Crow's Parliament. Curtis presses a new wrinkle into the serial-killer formula by having his madman killing for pay, with one of the victims—an art dealer—a deliberate target screened by many randomly chosen others. After much spadework, Robin Culley of Scotland Yard becomes aware of the murderous conspiracy, but he still must catch sniper Eric Ross and figure out who hired him and why—even as Ross, as Culley soon realizes and as we learn from creepy forays into Ross's head, has become addicted to the godlike powers of death-dealing. Complicating both the plot and Culley's life—already tangled by his knotty relationship with his estranged wife—is the hiring, by the same mystery man who hired Ross, of sharpshooter Martin Jackson: once Ross's best pal but now aiming to shoot out-of- control Ross and then nosy Culley. As Jackson stalks Ross and Ross stalks innocents, Culley flies to Arizona to look into a rich art collector who's transformed his desert acres into a fantastic rose garden, and who may be the brains behind the killings. But he's only a guilty accomplice, as Culley learns by ruthlessly seducing the man's neurotic daughter and using her as blackmail-bait, leading to her suicide. Back in England, as the panicking masterminds behind the killings—key to an art-theft scam—bump each other off, Culley at last snares Ross, only to have Jackson kill Ross, then dangle Culley's wife from a high window and drop her—an indiscretion that Culley avenges in a mano-Ö-mano showdown on a fog-swept moor. Kind of a sophisticated cops-and-robbers variant of the spaghetti western: tough yet sentimental, unwieldy yet grand, suspenseful yet utterly predictable as its textured yet super-macho hero and villains vector toward their inexorable fates.

Pub Date: Aug. 1, 1991

ISBN: 0-671-73640-X

Page Count: 384

Publisher: Simon & Schuster

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: June 1, 1991

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PLEASE SEE US

A lyrical, incisive, and haunting debut.

In Atlantic City, the bodies of several women wait to be discovered and a young psychic begins having visions of terrible violence.

They are known only as Janes 1 through 6, the women who have been strangled and left in the marsh behind the seedy Sunset Motel. They wait for someone to miss them, to find them. That someone might be Clara, a teenage dropout who works the Atlantic City strip as a psychic and occasionally has visions. She can tell there's something dangerous at work, but she has other problems. To pay the rent, she begins selling her company, and then her body, to older men. One day she meets Lily, another young woman who'd escaped the depressing decay of Atlantic City for New York only to be betrayed by a man. She’s come back to AC because there’s nowhere else to go, and she spends her time working a dead-end job and drinking herself into oblivion. Together, Clara and Lily may be able to figure out the truth—but they will each lose something along the way. Mullen’s style is subtle, flowing; she switches the narrative voice with each chapter, giving us Clara and Lily but also each of the victims. At the heart of the novel lies the bitter observation that “Women get humiliated every day, in small stupid ways and in huge, disastrous ones.” Mullen writes about all the moments that women compromise themselves in the face of male desire and male power and how they learn to use sex as commerce because “men are always promised this, no matter who they are.” The other major character in the novel is Atlantic City itself: fading; falling to ruin; promising an old sort of glamour that no longer exists; swindling sad, lonely people out of their money. This backdrop is unexpected and well rendered.

A lyrical, incisive, and haunting debut.

Pub Date: March 3, 2020

ISBN: 978-1-9821-2748-0

Page Count: 352

Publisher: Gallery Books/Simon & Schuster

Review Posted Online: Dec. 22, 2019

Kirkus Reviews Issue: Jan. 15, 2020

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THEN SHE WAS GONE

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. 5, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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