A young girl comes of age under duress and in the worst of circumstances, in Grimsley's (Dream Boy, 1995, etc.) delicate, perfectly paced narrative of childhood's pains. Although Ellen Tote is quite advanced in years, most of her story is a reminiscence, and she succeeds so well in bringing it to life that one quickly forgets that she is telling it across the span of many years. Ellen's childhood world, in the rural foothills of North Carolina, was a place of extraordinary simplicity: poor, brutal, and somehow quite innocent in its isolation from the rest of the world. Ellen's family, like most everyone in the region, makes do with very little. The homeless relatives who pass through the house on their way to and from prison, the persistently drunken men and pregnant women, the tormented familiarity with religion that pervades daily life are all drawn with the sort of ease that makes an exceptionally unfamiliar world at once compelling and recognizable. Ellen is a representative of the contradictions that surround her: An unwanted child, sometimes loved, often brutalized, she finds herself quite passionately attached to the frequently ugly and usually crude kinfolk in her life. A recurring dream of her own mother walking into the nearby river begins during childhood and continues into her old age, forming both the impetus and centerpiece of her tale. ``She glares at me coldly, as if I am some fish she has dragged off the end of her line, and she takes me by the shoulder and flings me high, end over end, into the middle of the river, and I sink into the cold, and I am falling forever, and I never look down.'' The gradual sorting-out of her childhood that the dream engenders is as credible and rich as the world that contains it. Moving, vivid, and very real: a work of tremendous, quiet intensity. (Author tour)
Pub Date: Jan. 1, 1997
ISBN: 1-56512-141-4
Page Count: 266
Publisher: Algonquin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 1996
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
More of a western than a mystery, like most of Joe’s adventures, and all the better for the open physical clashes that...
Wyoming Game and Fish Warden Joe Pickett (Free Fire, 2007, etc.), once again at the governor’s behest, stalks the wraithlike figure who’s targeting elk hunters for death.
Frank Urman was taken down by a single rifle shot, field-dressed, beheaded and hung upside-down to bleed out. (You won’t believe where his head eventually turns up.) The poker chip found near his body confirms that he’s the third victim of the Wolverine, a killer whose animus against hunters is evidently being whipped up by anti-hunting activist Klamath Moore. The potential effects on the state’s hunting revenues are so calamitous that Governor Spencer Rulon pulls out all the stops, and Pickett is forced to work directly with Wyoming Game and Fish Director Randy Pope, the boss who fired him from his regular job in Saddlestring District. Three more victims will die in rapid succession before Joe is given a more congenial colleague: Nate Romanowski, the outlaw falconer who pledged to protect Joe’s family before he was taken into federal custody. As usual in this acclaimed series, the mystery is slight and its solution eminently guessable long before it’s confirmed by testimony from an unlikely source. But the people and scenes and enduring conflicts that lead up to that solution will stick with you for a long time.
More of a western than a mystery, like most of Joe’s adventures, and all the better for the open physical clashes that periodically release the tension between the scheming adversaries.Pub Date: May 20, 2008
ISBN: 978-0-399-15488-1
Page Count: 320
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2008
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