Klingler (Rats, 2014) offers a techno-thriller about digital music piracy and the people it affects most.
Detective Qigiq is visiting San Francisco to help investigate a crime that’s a bit more modern than those in his native rural Alaska. He’s partnered with Detective Kandy Dreeson to investigate a box containing severed fingers that Robina, a music student, received in the mail. The digits are sealed in a plastic bag with a sticker reading, “Don't Steal Music.” Robina says the fingers belong to her roommate, Sally Bellowi, a cellist in the string quartet Fourtunate. In their quest to find the missing Sally, the detectives investigate her many lovers, including a music professor, a rock guitarist, and a man called “Mony,” among others. Elsewhere, in northern California, Eddy Blake, the CEO of a company called Silver Platter, struggles to successfully launch Invisible Hand—software that can scan a computer for illegally downloaded music and then frighten or embarrass the “file-sharer” into never doing so again. Just as he prepares to release it onto the Internet, YouTube footage appears of Sally, his ex-lover—gagged, terrified and likely being raped. Qigiq and Kandy fear that Sally’s kidnapper will finish her off and then choose a new victim. Klingler makes supreme use of his tech knowledge in a grisly mystery that strives to address the ethics of content ownership. His effortlessly clever prose makes the subject thoroughly entertaining, as in a line describing a lawyer as “so uptight he squeaked coming through the door.” The author’s awe of musicians is also apparent: “She played...faster and harder, louder, two notes at a time, the energy filling his ears, her raw beauty filling his eyes.” Unfortunately, for every instance of such respect, there are several that highlight the book’s guys-only tone, in which women are casually objectified: “Eddy…watched as the kid couldn’t resist the opportunity to twist his big neck around and ogle Alicia’s rear as he passed….Eddy didn’t much care if the kid looked, he was just jealous he wasn’t getting that view.” Readers may be surprised to see such a thoughtful, well-constructed tale lower itself to keep certain readers’ attention.

A smart but indulgently sexual thriller.

Pub Date: March 19, 2014

ISBN: 978-1941156032

Page Count: 600

Publisher: Cartosi LLC

Review Posted Online: July 24, 2014

Did you like this book?

No Comments Yet


While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

Did you like this book?

No Comments Yet

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...


Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

Did you like this book?

No Comments Yet