With its flat, staccato tone and mournful mood, it’s almost as if the book itself were suffering from depression.
A young Philadelphia policewoman searches for her addicted sister on the streets.
The title of Moore’s (The Unseen World, 2016, etc.) fourth novel refers to “a long bright river of departed souls,” the souls of people dead from opioid overdoses in the Philadelphia neighborhood of Kensington. The book opens with a long paragraph that's just a list of names, most of whom don’t have a role in the plot, but the last two entries are key: “Our mother. Our father.” As the novel opens, narrator Mickey Fitzpatrick—a bright but emotionally damaged single mom—is responding with her partner to a call. A dead girl has turned up in an abandoned train yard frequented by junkies. Mickey is terrified that it will be her estranged sister, Kacey, whom she hasn’t seen in a while. The two were raised by their grandmother, a cold, bitter woman who never recovered from the overdose death of the girls' mother. Mickey herself is awkward and tense in all social situations; when she talks about her childhood she mentions watching the other kids from the window, trying to memorize their mannerisms so she could “steal them and use them [her]self.” She is close with no one except her 4-year-old son, Thomas, whom she barely sees because she works so much, leaving him with an unenthusiastic babysitter. Opioid abuse per se is not the focus of the action—the book centers on the search for Kacey. Obsessed with the possibility that her sister will end up dead before she can find her, Mickey breaches protocol and makes a series of impulsive decisions that get her in trouble. The pace is frustratingly slow for most of the book, then picks up with a flurry of revelations and developments toward the end, bringing characters onstage we don’t have enough time to get to know. The narrator of this atmospheric crime novel has every reason to be difficult and guarded, but the reader may find her no easier to bond with than the other characters do.
With its flat, staccato tone and mournful mood, it’s almost as if the book itself were suffering from depression.Pub Date: Jan. 7, 2020
ISBN: 978-0-525-54067-0
Page Count: 496
Publisher: Riverhead
Review Posted Online: Sept. 1, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
BOOK TO SCREEN
Thriller fans will delight in this latest escapade. Cussler and co-author Burcell have delivered a winner.
The 10th and latest Sam and Remi Fargo adventure (The Romanov Ransom, 2017, etc.) is a fast-paced tale that reaches back to the early days of automotive glory.
In Manchester, England, in 1906, the Gray Ghost has gone missing. That’s the Rolls-Royce prototype developed by Charles Rolls and Henry Royce, and the loss threatens to financially ruin them. They hire a detective to locate it, but he is murdered. In the present day, Sam and Remi Fargo hear about the car, which turned up after World War II but is now missing again. It's always been owned by the Payton family, which generations ago was the Oren-Payton family, and may be worth many millions of dollars. Raising the stakes even higher, the 1906 thieves may have hidden treasure inside the car, though there was no trace of it when the Gray Ghost was found after the war. But jealous modern-day cousin Arthur Oren has the car stolen and then loses track of it—has the thief he hired stolen it twice? It’s a complicated and clever plot, with Sam and Remi trying to find it for the current owner, Lord Albert Payton, Viscount Wellswick. The 1906 journal of Jonathon Payton, fifth Viscount Wellswick, provides a solid backstory. The Fargos are great series characters, whip-smart and altruistic self-made multimillionaires who can afford to take time from their charity work to dabble in dangerous adventures. Oren knows they’re involved, and he wants them both dead and the car returned. An accomplice suggests first making the Fargos destitute by freezing their bank accounts and credit cards. Then the bad guys can arrange a fake suicide. It’s fun to watch Sam and Remi get out of dicey scrapes, once by driving an Ahrens-Fox pumper fire engine out of a blazing building. Oren asks, “How hard is it to knock off two socialites?” He finds out the hard way; he should have just acquainted himself with Cussler’s series.
Thriller fans will delight in this latest escapade. Cussler and co-author Burcell have delivered a winner.Pub Date: May 29, 2018
ISBN: 978-0-7352-1873-4
Page Count: 400
Publisher: Putnam
Review Posted Online: April 30, 2018
Kirkus Reviews Issue: May 15, 2018
Magnificent writing, nonetheless, makes the best case yet for putting McCarthy on a pedestal just below the one occupied by...
Almost as frustrating as it is commanding, McCarthy’s ninth (and first since the completion of his Border Trilogy: Cities of the Plain, 1998, etc.) is a formidable display of stunningly written scenes that don’t quite cohere into a fully satisfying narrative.
It’s a bleak chronicle of murder, revenge and implacable fate pocked with numerous echoes of McCarthy’s great Blood Meridian (1985). Here, the story’s set in 1980 in southern Texas near the Mexican border, where aging Sheriff Bell, a decorated WWII veteran, broods heroically over the territory he’s sworn to protect, while—in a superb, sorrowful monologue—acknowledging the omnipresence of ineradicable evil all around him. Then the focus trains itself on Vietnam vet Llewellyn Moss, a hunter who stumbles upon several dead bodies, a stash of Mexican heroin and more than $2 million in cash that he absconds with. The tale then leaps among the hunted (Moss), an escaped killer (Anton Chigurh), whose crimes include double-crossing the drug cartel from which the money was taken, the Army Special Forces freelancer (Carson Wells) hired by druglords and—in dogged pursuit of all the horrors spawned by their several interactions—the intrepid, however flawed and guilty, stoical Sheriff Bell: perhaps the most fully human and sympathetic character McCarthy has ever created. The justly praised near-biblical style, an artful fusion of brisk declarative sentences and vivid, simple images, confers horrific intensity on the escalating violence and chaos, while precisely dramatizing the sense of nemesis that pursues and punishes McCarthy’s characters (scorpions in a sealed bottle). But this eloquent melodrama is seriously weakened by its insufficiently varied reiterated message: “if you were Satan . . . tryin to bring the human race to its knees, what you would probably come up with is narcotics.”
Magnificent writing, nonetheless, makes the best case yet for putting McCarthy on a pedestal just below the one occupied by William Faulkner.Pub Date: July 25, 2005
ISBN: 0-375-40677-8
Page Count: 352
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2005
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