Any mystery that leaves you as satisfied with its lingering questions as it does with its solutions is worth your patronage.
Two masters of psychological suspense weave a sprawling contemporary whodunit steeped in religious mythology, gruesome violence and the supernatural.
A sardonic-depressive LAPD detective wakes up hung over with a beautiful brunette in his bed and can’t remember how she got there. (At least she’s alive.) The next thing he knows, he’s been ordered off desk duty to join a “special” unit that’s looking into the inexplicable appearance of a severed head in an abandoned living room. So far, anyway, we would appear to be treading on well-worn territory. But this father-son collaboration of Jonathan (the Alex Delaware mystery series) and Jesse (Potboiler, 2012, etc.) Kellerman has more on its mind than bizarro SoCal murder. The far-flung investigation by police detective (and rabbi's son) Jacob Lev, which takes him from Los Angeles to Prague and Oxford and back again, is interwoven with a tale, spanning eons, of ancient retribution and mystic transfiguration involving Jewish ritual and mythology; at its center, as the title implies, is a monstrous being built to render justice upon the wicked—including a serial killer or two. In clammier hands, this mixture would come across as a goopy farrago. But this is a witty, propulsive and frequently chilling read; its phantasmagorical elements are blended seamlessly enough with its up-to-the-minute crime-genre trappings to give its imaginative speculations some eerie plausibility. One caveat: The snappy back and forth between characters works better in the contemporary segments than in the ancient ones. But what’s a few stray anachronisms in a story as ambitious and as entertaining as this?
Any mystery that leaves you as satisfied with its lingering questions as it does with its solutions is worth your patronage.Pub Date: Sept. 16, 2014
ISBN: 978-0-399-16236-7
Page Count: 560
Publisher: Putnam
Review Posted Online: Aug. 13, 2014
Kirkus Reviews Issue: Sept. 1, 2014
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
A new series starts off with a bang.
A queen and her young daughter are forced to separate and go into hiding when a corrupt politician tries to take over the kingdom.
Queen Cressa of Weirandale is worried about her 8-year-old daughter, the “princella” Cerúlia. The people of Weirandale worship a water spirit, Nargis, who grants each queen a special gift called a Talent. Cressa herself is able to meddle with memories, for example, and her mother possessed supernatural strategic abilities that served her well in battle. Cerúlia, however, appears to have none, because surely her insistence that she can talk to animals is only her young imagination running wild. When Cerúlia’s many pets warn her about assassins creeping into the royal chambers, the girl is able to save herself and her mother. Cressa uses her Talent, which actually extends to forcing anyone to tell her the truth, to root out traitors among the aristocracy, led by the power-hungry Lord Matwyck. Fearing for her daughter’s life and her own, Cressa takes Cerúlia and flees. Thinking Cerúlia will be safer away from her mother, Cressa takes the girl to a kind peasant family and adjusts their memories so they believe Cerúlia is their adopted daughter. Kozloff’s debut is the first of four Nine Realms books, and Tor plans to publish them over just four months. Luckily, the series opener is a strong start, so readers will be grateful for the short wait before Book 2. Kozloff sets a solid stage with glimpses into other characters and nations while keeping the book together with a clear, propulsive plot.
A new series starts off with a bang.Pub Date: Jan. 21, 2020
ISBN: 978-1-250-16854-2
Page Count: 496
Publisher: Tor
Review Posted Online: Sept. 29, 2019
Kirkus Reviews Issue: Oct. 15, 2019
PERSPECTIVES
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