SINGLE & SINGLE

Now that the Evil Empire has fallen, le Carre (The Tailor of Panama, 1996, etc.) continues to explore the endless opportunities for junior-grade evil when East meets West through the accommodating offices of a wealthy banking family. In one forgotten corner of the world, a butterfly flaps its wings; in another, a life rebuilt of carefully planned lies begins to unravel. The butterfly is Alfred Winser, chief legal counsel to the banking firm of Single & Single, executed on a Turkish hilltop, to his astonishment, by financier Alix Hoban in the tour de force opening. A continent away in a Devon coastal town, children’s magician Oliver Hawthorne gets the news that his daughter Carmen’s trust fund has been credited with a deposit of ú5,000,030. The authorities who follow the news posthaste want to know the deposit’s source, but Oliver is more troubled by its figure: half a million pounds plus thirty pieces of silver (only the most obvious of le Carre's many biblical references). Oliver is shocked that his father, shadowy financier Tiger Single, knows how to find him four years after he bolted from the family business, horrified by the licentious scope of Tiger’s dealings with Georgian mob alumni Yevgeny and Mikhail Orlov. But Oliver’s sickened recollections of how his father’s business penetrated every crevice of Oliver’s life, from his family ties to the Orlov brothers to the affairs he commenced in a futile attempt to act out his independence, will inevitably yield to a more urgent imperative: his return to the fold when it becomes obvious that he’s the only person who has a chance of saving Tiger from the forces—the Georgian mob, an ambitious assassin, a treacherous flunky, the Inland Revenue—who seem to have been queued up for years awaiting their chance to destroy him. Deprived of the great subject of Cold War espionage he handled better than any other novelist, le Carre now argues that individual greed, not ideology, is the villain to watch out for, and individual enterprise the only possible hope.

Pub Date: March 2, 1999

ISBN: 0-684-85926-2

Page Count: 347

Publisher: Scribner

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 1, 1999

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

DEVOLUTION

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.

THEN SHE WAS GONE

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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