Michael Crichton might have produced this had he had a literary sensibility. Thoroughly well-written, grounded in science...
Masterful storyteller Gonzales (Everyday Survival, 2008, etc.) returns to fiction with a pensive meditation on a question of biology.
The rise of the clone may be fast upon us, but Gonzales turns to a perhaps farther-fetched scenario with his imagining that somewhere in the Congolese jungle, not very long ago, ape and human came together to produce a child. Thus Lucy, who explains, “I’m a humanzee…Half human, half pigmy chimpanzee.” Insists Jenny, a bonobo watcher who sweeps Lucy from the jungle a step ahead of murderous guerrillas in a time of civil war, “Don’t ever call yourself that. You’re a person.” Ah, but there’s the rub. Lucy, not quite a teen, is more at home in the trees than on the ground, small and agile, with “smooth tan skin” and “long dark hair standing out in a wild profusion of curls.” She can hear danger coming from miles away, almost hear guns before they’re fired—almost. But she can also recite Shakespeare and speak numerous languages (“French and Lingala. English, of course. Italian and Spanish. A little German. Dutch”). The humans she encounters sense that she’s different, though they can’t quite say why—perhaps because, even in London and Chicago, she enjoys time in the branches. Out in the human world, she both attracts and troubles them. And, as luck would have it, some of the perturbed are scientists who discover, through a neat plot twist, that Lucy isn’t fully human—biologically, anyway—and may be dangerous to people, which in turn stirs up the G-men: “The presence of the human-animal hybrid within the borders of the United States…can be viewed—at least technically—as an act of terrorism.” From Frankenstein on, we’ve seen how the presence of The Other can rankle the mob, and it is from that premise that Gonzales’s story rockets into tragedy and beyond.
Michael Crichton might have produced this had he had a literary sensibility. Thoroughly well-written, grounded in science and a sorrowful sense of human nature, this book is utterly memorable.Pub Date: July 1, 2010
ISBN: 978-0-307-27260-7
Page Count: 310
Publisher: Knopf
Review Posted Online: June 3, 2010
Kirkus Reviews Issue: May 15, 2010
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
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
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