A brashly retro escapist caper reminiscent of Topkapi and just as likely to be filmed.
The creator of Dexter Morgan, everyone’s favorite homicidal sociopath (Dexter Is Dead, 2015, etc.), dials down the mayhem just enough to introduce a master thief who’s equally proficient at his trade.
Riley Wolfe is bored. Every single one of his heists, even the theft of a 12.5-ton sculpture from Chicago’s Nesselrode Plaza during its dedication ceremony, goes off so seamlessly that there are no new mountains left to scale—almost literally, since Riley is accomplished in parkour as well as larceny. Looking for a suitably impossible challenge, he decides to steal the Daryayeh-E-Noor (Ocean of Light) diamond from among the Iranian crown jewels. The Islamic Republic obligingly makes the job easier by sending the jewels from their impregnable stronghold in Tehran to New York’s Eberhardt Museum, a display site that promises to be exceptionally well armored but not quite as unbreachable. Riley’s plot, as preposterous as it is absorbing, involves multiple disguises, multiple forged artworks supplied by his friend and one-time lover, Monique, and, for better or worse, multiple murders he carries out in between dispensing matter-of-fact bromides like “it doesn’t pay to have friends, because you have to trust them, and that never works out.” But you can’t make headlines without breaking some necks, and Riley, though he takes no particular pleasure in dispatching the unsuspecting souls who stand between him and the Daryayeh-E-Noor, is fully up to the task. About the only thing that casts doubt on the ultimate success of his plan, which pleasingly unfolds with nary a hint of foreshadowing about ways and means, is his devotion to his long-comatose mother, an attachment Chicago FBI agent Frank Delgado, as fanatic as Riley in his way, picks up on after an inexplicable brain wave tells him that Riley’s targeted the diamond, setting in motion a familiar game of cat and mouse, or cat and other cat.
A brashly retro escapist caper reminiscent of Topkapi and just as likely to be filmed.Pub Date: Dec. 3, 2019
ISBN: 978-1-5247-4394-9
Page Count: 368
Publisher: Dutton
Review Posted Online: Sept. 1, 2019
Kirkus Reviews Issue: Sept. 15, 2019
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
Proficient but eminently predictable. Amid all the time shifts and embedded backstories, the most surprising feature is how...
A convicted killer’s list of five people he wants dead runs the gamut from the wife he’s already had murdered to franchise heroine Ali Reynolds.
Back in the day, women came from all over to consult Santa Clarita fertility specialist Dr. Edward Gilchrist. Many of them left his care happily pregnant, never dreaming that the father of the babies they carried was none other than the physician himself, who donated his own sperm rather than that of the handsome, athletic, disease-free men pictured in his scrapbook. When Alexandra Munsey’s son, Evan, is laid low by the kidney disease he’s inherited from his biological father and she returns to Gilchrist in search of the donor’s medical records, the roof begins to fall in on him. By the time it’s done falling, he’s serving a life sentence in Folsom Prison for commissioning the death of his wife, Dawn, the former nurse and sometime egg donor who’d turned on him. With nothing left to lose, Gilchrist tattoos himself with the initials of five people he blames for his fall: Dawn; Leo Manuel Aurelio, the hit man he’d hired to dispose of her; Kaitlyn Todd, the nurse/receptionist who took Dawn’s place; Alex Munsey, whose search for records upset his apple cart; and Ali Reynolds, the TV reporter who’d helped put Alex in touch with the dozen other women who formed the Progeny Project because their children looked just like hers. No matter that Ali’s been out of both California and the news business for years; Gilchrist and his enablers know that revenge can’t possibly be served too cold. Wonder how far down that list they’ll get before Ali, aided once more by Frigg, the methodical but loose-cannon AI first introduced in Duel to the Death (2018), turns on them?
Proficient but eminently predictable. Amid all the time shifts and embedded backstories, the most surprising feature is how little the boundary-challenged AI, who gets into the case more or less inadvertently, differs from your standard human sidekick with issues.Pub Date: April 2, 2019
ISBN: 978-1-5011-5101-9
Page Count: 352
Publisher: Gallery Books/Simon & Schuster
Review Posted Online: Feb. 18, 2019
Kirkus Reviews Issue: March 1, 2019
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