by Lyndsey Norton ‧ RELEASE DATE: Oct. 12, 2012
An engaging thriller that takes Norton’s terrorism-fueled series to suspenseful new heights.
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The third installment of Norton’s (The Theft of a Dukedom, 2012, etc.) thriller series about Detective Inspector Becky Castle combines a nail-biting terrorist plot with steamy bedroom scenes.
Wanted criminal Abdullah Razzac Fakesh has London in his sights once again, and nothing—not even a Brighton vacation or a friend’s wedding—can stop Castle from tracking him down. A series of nuclear-bomb scares involving bright red suitcases at Heathrow and Gatwick airports and the Canary Wharf docks leads Castle to wonder at Fakesh’s boldness. As she hypothesizes about the clues he has left behind (including the name “Victoria”), she uncovers a sinister plot that threatens Parliament, central London and her beloved husband, Bob, home on leave from duty with his parachute regiment in Iraq. Castle sports a shotgun wound on her chest from a previous altercation with would-be bombers, and she puts on a tough show; she brags that she “[likes] nothing better than to crush and mash a man’s knuckles” with a handshake. She also exhibits an insatiable lust for her husband. However, sex and crime aren’t the only things on Castle’s mind: She must also make sense of unsavory truths from Bob’s past and figure out what’s going on with her friend and colleague, U.K. Special Air Service Major Geoffrey Jackson, who’s about to marry a woman he may not love. Norton skillfully drives the story along with fast-moving police sequences and snappy dialogue, but she also slows it down with frequent romantic interludes. Although these languorous moments are combustible in a different way, they sometimes threaten to derail the chase; they spring up often enough to please crossover fans of romantic fiction and chick lit, but they may annoy readers who prefer lone-wolf thrillers with fewer distractions. Still, Norton’s sharp pacing and attention to each moment ensure that readers will race alongside Castle until the story’s tense, high-stakes conclusion.
An engaging thriller that takes Norton’s terrorism-fueled series to suspenseful new heights.Pub Date: Oct. 12, 2012
ISBN: 978-1477237793
Page Count: 288
Publisher: AuthorHouse
Review Posted Online: March 11, 2014
Review Program: Kirkus Indie
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by Max Brooks ‧ RELEASE DATE: June 16, 2020
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
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New York Times Bestseller
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
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by Lisa Jewell ‧ RELEASE DATE: April 24, 2018
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
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