Enough characters, confrontations, secrets, and subplots to fill the stage of an opera house—and leave spectators from the...
After an absence of five years, Hart finds more to mine in the fertile land of the Southern gothic.
Hart returns brimming with plotlines and melodramatics. For starters, there are three emotionally and physically wounded characters. Front and center stands Elizabeth Black, a detective on the police force in an unnamed North Carolina city. Feisty, irrepressible Elizabeth has been furloughed after an incident in a cellar in which she pumped 18 bullets into two men who had bound and raped an 18-year-old girl named Channing. "Hero Cop or Angel of Death?" ask headlines, as a formal investigation into possibly excessive force looms likely. Elizabeth is also obsessed with Adrian Wall, an ex-cop in prison for the murder of Julia Strange. Black insists he’s innocent; she also suspects she loves him. And so she ignores department orders to stay away from Wall, seeking him out soon after he’s released from prison. Meanwhile, in a vivid scene that opens the book, Julia Strange’s son, Gideon, a 14-year-old whose “thoughts [run] crooked sometimes,” lights out from home and his father, “an empty man,” to shoot Wall the morning he walks free. Elizabeth, Channing, and Gideon are linked by troubled relationships with their parents, and the offsprings’ efforts to surmount the discord becomes a major theme in the book. There are, as well, other pertinent tropes—Wall’s case eventually raises issues of police corruption and prison abuse. Threaded through the steadily paced plot is a series of cross-cuts to the first-person narration of an unidentified man, a lurking bogeyman who moves, unobserved, among the other characters as he kidnaps and tortures several women. His identity is not hard to guess, and the familiarity of his scenes, however chilling, mars the plotting. A protracted action scene resolves the strands of the plot, and a touching epilogue lends a closing note of poignancy.
Enough characters, confrontations, secrets, and subplots to fill the stage of an opera house—and leave spectators from the orchestra to the balcony moved and misty-eyed.Pub Date: May 3, 2016
ISBN: 978-0-312-38036-6
Page Count: 432
Publisher: Dunne/St. Martin's
Review Posted Online: Feb. 16, 2016
Kirkus Reviews Issue: March 1, 2016
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
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. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
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