A remarkable thriller that delivers exactly what its title promises, despite a few disconnected characters.

Secret Wars: An Espionage Story

In Goldberg’s debut thriller, the mid-1980s’ war on terrorism is waged via military action, covert operations and propaganda.

After terrorists successfully carry out devastating attacks in crowded European airports, the media reports that the perpetrators were funded by the Libyan government. The U.S. responds with a tactical strike against Libya; at the same time, the CIA hopes to recruit that country’s foreign minister, Abdallah Mukhtar, who’s frustrated with the Libyan leadership and may be on the verge of resigning. Mike Garnett, the head of the CIA’s Propaganda Operations, produces a video to sway Mukhtar into believing his son’s death in a helicopter crash was actually a murder ordered by a Libyan official. The plan doesn’t turn out quite as anticipated, however, due to a bombing in retaliation for the U.S. strike and a subsequent American military assault. As a result, the agency mounts a daring retrieval of Mukhtar using its best weapons: covert agents and propaganda. The novel highlights military strategy in scenes derived from real-world events, such as the 1986 bombing of a German disco that targeted American soldiers. However, its true focus is on clandestine operations. Garnett, for example, aptly declares that he’s in the “deception business,” and he generally stays away from the action. The CIA, likewise, sees more value in recruiting new assets than it does in the information those assets obtain. Goldberg’s plot is all business, often avoiding humor and frivolous dialogue. This, for the most part, works to the story’s advantage; it maintains an impressive pace as it bounces from scene to scene in relatively short chapters. But in some instances, such brevity can be detrimental, particularly to character development; for example, two CIA assets, the NOC (nonofficial cover) and the Oilman, have no real names, and they come across as cold, impassive soldiers unworthy of sympathy. Mukhtar, on the other hand, is an invigorating character, and despite his involvement in numerous atrocities, he’ll likely inspire readers’ compassion. The story’s memorable ending adamantly refuses to offer easy answers.

A remarkable thriller that delivers exactly what its title promises, despite a few disconnected characters.

Pub Date: Nov. 30, 2014

ISBN: 978-1500345419

Page Count: 352

Publisher: CreateSpace

Review Posted Online: Jan. 2, 2015

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

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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.


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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