You’ve met the prosecutor from hell, the D.A. from hell, the judge, the client, the witness from hell. Now Martel (Conflicts of Interest, 1995, etc.) presents the juror from hell. Ex-Congressman Elliot Ashford, who looks and talks like Jay Gatsby, is accused of killing his wife. It’s the sort of case that could vault San Francisco D.A. Earl Field into the governor’s mansion, but Field has dirty reasons of his own for tanking the case. Asking Grace Harris, the head of his homicide trials unit, to serve as his co-counsel, he resolves to torpedo his own case while making sure she gets the blame. Grace’s opposite number, Barrett Dickson, is getting set up equally dextrously. A veteran litigator who’s been in seclusion ever since losing a foolproof case, he agrees to second-chair Elliot’s hotshot L.A. attorney Al Menghetti, then watches while Menghetti goes into a tailspin and walks, leaving him holding the bag for a client he dislikes and distrusts on behalf of a firm that’s trying to ease him out. The wild card neither Grace nor Barrett reckons with is Amanda Keller, the file clerk who’s convinced that getting called for Elliot’s jury will restart her acting career. Snaking her way from the pool of alternates to a coveted seat on the jury, she hatches a series of increasingly deranged plots to see her brand of justice done. Martel neglects all the traditional strengths of legal intrigue—the courtroom scenes are muffled, the complications exhausting, the characters as simplified as caricatures—in order to keep unearthing new varieties of skullduggery the way some writers unearth new evidence. Long before Grace warns the Grace-smitten Barrett, Don’t deny your client a shot at a fair trial!, most readers will be wondering what on earth a fair trial might be. Martel would’ve written a masterpiece if only the fascinating questions he raises about the corruption bred by the adversarial system of criminal justice made for equally fascinating melodrama. (Literary Guild/Mystery Guild selection; author tour)
Pub Date: May 1, 1999
ISBN: 0-525-94487-7
Page Count: 432
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1999
BOOK REVIEW
BOOK REVIEW
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
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. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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