Perfect entertainment for readers whose hearts skip a beat when they worry that the hero won’t be in time to rescue that...
Virgil Flowers, of Minnesota’s Bureau of Criminal Apprehension, pivots from dognapping (Field of Prey, 2014, etc.) to a catnapping whose victims are really big cats.
It’s just as illegal in China as it is in the rest of the world to deal in so-called natural medicines derived from slain wild animals, but it’s much more common to ignore the Chinese laws, as California mobster Zhang Min does when he hires Winston Peck VI, an M.D. barred from practicing since he groped one too many unconscious patients, to steal a pair of Amur tigers from the Minnesota Zoo, kill them, and mine their bodies for all manner of nostrums. The theft, for which Peck brings in the none-too-bright fraternal pair Hayk and Hamlet Simonian, goes off without a hitch, and one of the cats is soon ready to be rendered, a process whose unlovely effects Sandford describes in exquisite detail. But when Virgil, called in to investigate, finds Hamlet’s fingerprint in a place where it definitely shouldn’t be, Peck begins cutting his losses by eliminating his confederates, and the race is on: can Virgil find anyone whose evidence against Peck will stand up before Peck puts paid to the informant? Several subplots, from an animal rights activist’s vendetta against a dealer in animal products and parts to the beating of Frankie Nobles, Virgil’s current lover, are less interesting than the main event and therefore come across as padding. But Peck, who wonders if he’s a psychopath or a spree killer and decides that for him, “killing was simply a work-related task,” is well worth your time.
Perfect entertainment for readers whose hearts skip a beat when they worry that the hero won’t be in time to rescue that remaining tiger from certain death.Pub Date: Oct. 4, 2016
ISBN: 978-0-399-16891-8
Page Count: 400
Publisher: Putnam
Review Posted Online: July 18, 2016
Kirkus Reviews Issue: Aug. 1, 2016
Proficient but eminently predictable. Amid all the time shifts and embedded backstories, the most surprising feature is how...
A convicted killer’s list of five people he wants dead runs the gamut from the wife he’s already had murdered to franchise heroine Ali Reynolds.
Back in the day, women came from all over to consult Santa Clarita fertility specialist Dr. Edward Gilchrist. Many of them left his care happily pregnant, never dreaming that the father of the babies they carried was none other than the physician himself, who donated his own sperm rather than that of the handsome, athletic, disease-free men pictured in his scrapbook. When Alexandra Munsey’s son, Evan, is laid low by the kidney disease he’s inherited from his biological father and she returns to Gilchrist in search of the donor’s medical records, the roof begins to fall in on him. By the time it’s done falling, he’s serving a life sentence in Folsom Prison for commissioning the death of his wife, Dawn, the former nurse and sometime egg donor who’d turned on him. With nothing left to lose, Gilchrist tattoos himself with the initials of five people he blames for his fall: Dawn; Leo Manuel Aurelio, the hit man he’d hired to dispose of her; Kaitlyn Todd, the nurse/receptionist who took Dawn’s place; Alex Munsey, whose search for records upset his apple cart; and Ali Reynolds, the TV reporter who’d helped put Alex in touch with the dozen other women who formed the Progeny Project because their children looked just like hers. No matter that Ali’s been out of both California and the news business for years; Gilchrist and his enablers know that revenge can’t possibly be served too cold. Wonder how far down that list they’ll get before Ali, aided once more by Frigg, the methodical but loose-cannon AI first introduced in Duel to the Death (2018), turns on them?
Proficient but eminently predictable. Amid all the time shifts and embedded backstories, the most surprising feature is how little the boundary-challenged AI, who gets into the case more or less inadvertently, differs from your standard human sidekick with issues.Pub Date: April 2, 2019
ISBN: 978-1-5011-5101-9
Page Count: 352
Publisher: Gallery Books/Simon & Schuster
Review Posted Online: Feb. 18, 2019
Kirkus Reviews Issue: March 1, 2019
Slaughter (Cop Town, 2014, etc.) is so uncompromising in following her blood trails to the darkest places imaginable that...
Twenty-four years after a traumatic disappearance tore a Georgia family apart, Slaughter’s scorching stand-alone picks them up and shreds them all over again.
The Carrolls have never been the same since 19-year-old Julia vanished. After years of fruitlessly pestering the police, her veterinarian father, Sam, killed himself; her librarian mother, Helen, still keeps the girl's bedroom untouched, just in case. Julia’s sisters have been equally scarred. Lydia Delgado has sold herself for drugs countless times, though she’s been clean for years now; Claire Scott has just been paroled after knee-capping her tennis partner for a thoughtless remark. The evening that Claire’s ankle bracelet comes off, her architect husband, Paul, is callously murdered before her eyes and, without a moment's letup, she stumbles on a mountainous cache of snuff porn. Paul’s business partner, Adam Quinn, demands information from Claire and threatens her with dire consequences if she doesn’t deliver. The Dunwoody police prove as ineffectual as ever. FBI agent Fred Nolan is more suavely menacing than helpful. So Lydia and Claire, who’ve grown so far apart that they’re virtual strangers, are unwillingly thrown back on each other for help. Once she’s plunged you into this maelstrom, Slaughter shreds your own nerves along with those of the sisters, not simply by a parade of gruesome revelations—though she supplies them in abundance—but by peeling back layer after layer from beloved family members Claire and Lydia thought they knew. The results are harrowing.
Slaughter (Cop Town, 2014, etc.) is so uncompromising in following her blood trails to the darkest places imaginable that she makes most of her high-wire competition look pallid, formulaic, or just plain fake.Pub Date: Sept. 29, 2015
ISBN: 978-0-06-242905-6
Page Count: 400
Publisher: Morrow/HarperCollins
Review Posted Online: June 30, 2015
Kirkus Reviews Issue: July 15, 2015
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