Most readers will be ahead of the twin investigators in identifying the guilty party. But the mystery is authentic, the...

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THE BLACK BOOK

Peerless networker Patterson (Woman of God, 2016, etc.), who’s become as ubiquitous as Betty Crocker, latches on to a co-author who ups his game in several welcome ways.

Called to a crime scene, Detective Patti Harney of the Chicago PD finds her twin brother, Detective Billy Harney, shot and left for dead in the bedroom of assistant state’s attorney Amy Lentini’s condo. Amy is also present and even more dead. So is Billy’s partner, Detective Katherine Fenton. Working backward and forward from this opening tableau, the authors ask who shot whom and why. The answers are clearly rooted in a warrantless raid Billy led into an apartment building he’d become certain was operating as a sex club catering to Chicago’s finest, including the archbishop and the mayor—even though, as cautious percentage player Lt. Paul Wizniewski warned him, Billy was Homicide, not Vice. The blowback from the raid is predictably intense, entangling Billy, Kate Fenton, and Amy Lentini, who overcomes her initial animosity toward Billy sufficiently to take him to bed. The central mystery is the question of what’s become of the little black book in which Amy is certain Ramona Dillavou, the manager of the sex club, recorded the names and particulars of all her celebrity clients. She’s convinced that some bad cop pounced on it and spirited it away. But which bad cop? Billy, surviving the shooting that left his partner and his lover dead only to find himself accused of murder on the strength of forensic evidence, is helpless to defend himself because he’s lost all memory of what happened in that bedroom. Will he recover it in time to save himself and finger the perp?

Most readers will be ahead of the twin investigators in identifying the guilty party. But the mystery is authentic, the lead-up genuinely suspenseful, and the leading characters and situations more memorable than Patterson’s managed in quite a while. Co-author Ellis is definitely a keeper.

Pub Date: March 27, 2017

ISBN: 978-0-316-27388-6

Page Count: 448

Publisher: Little, Brown

Review Posted Online: March 7, 2017

Kirkus Reviews Issue: March 15, 2017

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A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

DEVOLUTION

Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z (2006).

A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

Pub Date: June 16, 2020

ISBN: 978-1-9848-2678-7

Page Count: 304

Publisher: Del Rey/Ballantine

Review Posted Online: Feb. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

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. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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