More introspective than action-oriented, Perry delivers an intriguingly emotional and unconventional debut.
Accomplished Irish authors Karen Gillece (The Absent Wife, 2008, etc.) and Paul Perry (Paranormal, 2012, etc.), writing as Karen Perry, collaborate on a dark mystery about unimaginable loss and irrevocable choices.
It’s difficult at first to sympathize with Harry, an artist who’s spent the past five years mourning the disappearance and presumed death of his son in an earthquake in Tangier. Leaving 3-year-old Dillon alone in the apartment in a drug-induced sleep in order to retrieve a gift for his wife, Robin, Harry returns minutes after the entire building vanishes, apparently along with his son. Years of recrimination, mental imbalance and uncontrollable grief have plagued Harry since their return to Ireland, where he develops a reputation as an established artist, cloaks himself in a haze of alcohol and meaningless affairs, and explores otherworldly beliefs in search of answers. Robin, unable to continue her art, becomes an architect and tries to help both of them heal. Now, it seems their lives are moving on: The couple is living in Robin’s grandmother’s drafty, old home, which Robin plans to renovate, and Harry has agreed to move his studio there as a cost-saving effort. Robin also discovers she’s pregnant again and hopes the birth of their child will signify a fresh beginning. But Harry’s reaction seems forced. At first reluctant to share his news with Robin, Harry believes he’s sighted Dillon, now older, on a crowded street in Dublin. His quest to track down the young boy—lying to Robin about a trip to London, trying to obtain answers from an ill friend from Tangier, watching hours of surveillance videos—consumes him, and he finally confesses his obsession to Robin, who’s horrified. As the initial slow-moving explorations of characters, relationships and events gain momentum and move toward a well-constructed conclusion, the co-authors create an atmosphere that’s both murky and disturbing.
More introspective than action-oriented, Perry delivers an intriguingly emotional and unconventional debut.Pub Date: Feb. 18, 2014
ISBN: 978-0-8050-9872-3
Page Count: 336
Publisher: Henry Holt
Review Posted Online: Oct. 19, 2013
Kirkus Reviews Issue: Nov. 1, 2013
BOOK REVIEW
PROFILES
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
One small step, no giant leaps.
Weir (The Martian, 2014) returns with another off-world tale, this time set on a lunar colony several decades in the future.
Jasmine “Jazz” Bashara is a 20-something deliveryperson, or “porter,” whose welder father brought her up on Artemis, a small multidomed city on Earth’s moon. She has dreams of becoming a member of the Extravehicular Activity Guild so she’ll be able to get better work, such as leading tours on the moon’s surface, and pay off a substantial personal debt. For now, though, she has a thriving side business procuring low-end black-market items to people in the colony. One of her best customers is Trond Landvik, a wealthy businessman who, one day, offers her a lucrative deal to sabotage some of Sanchez Aluminum’s automated lunar-mining equipment. Jazz agrees and comes up with a complicated scheme that involves an extended outing on the lunar surface. Things don’t go as planned, though, and afterward, she finds Landvik murdered. Soon, Jazz is in the middle of a conspiracy involving a Brazilian crime syndicate and revolutionary technology. Only by teaming up with friends and family, including electronics scientist Martin Svoboda, EVA expert Dale Shapiro, and her father, will she be able to finish the job she started. Readers expecting The Martian’s smart math-and-science problem-solving will only find a smattering here, as when Jazz figures out how to ignite an acetylene torch during a moonwalk. Strip away the sci-fi trappings, though, and this is a by-the-numbers caper novel with predictable beats and little suspense. The worldbuilding is mostly bland and unimaginative (Artemis apartments are cramped; everyone uses smartphonelike “Gizmos”), although intriguing elements—such as the fact that space travel is controlled by Kenya instead of the United States or Russia—do show up occasionally. In the acknowledgements, Weir thanks six women, including his publisher and U.K. editor, “for helping me tackle the challenge of writing a female narrator”—as if women were an alien species. Even so, Jazz is given such forced lines as “I giggled like a little girl. Hey, I’m a girl, so I’m allowed.”
One small step, no giant leaps.Pub Date: Nov. 14, 2017
ISBN: 978-0-553-44812-2
Page Count: 320
Publisher: Crown
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 15, 2017
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