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THE DATE FARM

A swiftly paced thriller with impeccable heroes.

Awards & Accolades

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In this fourth installment of a series, Mossad agents face off against Islamic terrorists initiating attacks in the United States.

A group of armed men opens fire at a crowd in a Beverly Hills shopping mall. After the assailants commit suicide with shouts of “Allahu Akhbar,” the FBI calls Uri Levin and Lara Edmond. The married couple are Mossad agents, though Lara is still officially a fed as well. They cut short their vacation at Lara’s family farm in Ohio and head to Los Angeles, but the evidence they gather there unfortunately sparks no leads. Weeks later, there’s a different style of attack in New York. Unknown men have incited a traffic jam and subsequently taken over two buildings, the Federal Reserve and Chase Manhattan Bank. At the same time, someone has evidently disabled communications networks and satellite transmissions. Suspecting the attackers, like in the California shooting, are Middle Eastern, the feds once again bring in Uri and Lara. Readers are aware that Sheikh Zainal Abidin is heading the strike against America. U.S. agents believe the enemy’s objective is gold, rumored to be at the Federal Reserve but actually at Chase Manhattan Bank. But Abidin has other agendas in the works. He wants revenge against Uri and Lara, who previously foiled a plan that he was a part of years ago. But his ultimate goal, known only to a few, is stealing a rare material stored in one of the two buildings. In this thriller, Winnick (Devil in False Colors, 2016, etc.) wastes little time in showcasing the villains as well as the bulk of their simple but effective plan. For example, Abidin’s “electronics team” in Kazerun, Iran, is responsible for America’s communications shutdown while the Beverly Hills attack was really a setup for the more substantial one in Manhattan. This certainly boosts suspense, as Abidin has his eyes set on the Mossad heroes well before they identify him as a culprit. But too many characters (and narrative details) reiterate already clarified elements of the baddies’ scheme, including someone hacking communications and gold as a potential target. Luckily, this hardly slows down the story, which moves at a steady clip. The latter half entails a journey from North to South America and, later, Iran, where Uri and Lara go undercover in enemy territory. The author aptly balances the recurring protagonists’ romantic and professional lives. There’s no question the two are in love, but in the field, they’re both tenacious agents even if they aren’t working side by side. The bad guys are painted in broader colors, but they’re still an engrossing bunch, and their propensity for martyrdom makes them frightening. In keeping with the action, Winnick’s descriptions are thorough while continually propelling the narrative: “The dead and wounded had been tended to, a task that took over an hour, before any of the Federal officers realized the contents of the wooden crates had not been identified.” Winnick also adds surprises, from the (eventual) reveal of the unknown material to one character’s betrayal.

A swiftly paced thriller with impeccable heroes.

Pub Date: Dec. 24, 2018

ISBN: 978-1-79093-946-6

Page Count: 234

Publisher: Time Tunnel Media

Review Posted Online: April 29, 2019

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SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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