A breezy, involving thriller that handily overcomes any resistance to its grisly premise and leaves you hoping for the...

READ REVIEW

THE INQUISITOR

Geiger, a strange, dispassionate genius at torture who hires himself out to clients in need of high-level "information retrieval," must confront deeply repressed memories of his traumatic upbringing when a duplicitous client uses a young boy as a pawn.

The inquisitor has no conscious memory of his life before he was woken on a New York bus 15 years ago, when he was 19 or 20. A systematic practitioner of his craft, he has an unshakable rule against torturing children, so when a client brings in the 12-year-old son of an alleged art thief (who turns out to be a whistleblower on CIA misdeeds), Geiger is forced to improvise to keep the kid unharmed. His slowly developing attachment to the boy alters his emotional state, which he has been exploring with a psychiatrist since he began suffering from excruciating migraines following dreams about his childhood—migraines he can endure only by curling up in a dark closet with classical music pouring in. Everyone in the book is damaged: Geiger's shrink is going through the pangs of divorce; his partner Harry, a onetime newspaper man hired for his computer skills, is a recovering alcoholic; and Harry's sister is a low-functioning schizophrenic. We learn that Geiger's father subjected him to razor cuts to make him strong. We also learn that the bad guys are not after a stolen de Kooning but evidence of governmental abuse. The plotting gets a bit slick down the stretch, and Geiger gets a bit softer than we might hope. But he is still one of the most utterly distinctive protagonists in a recent thriller, and one of the most unexpectedly sympathetic. (His arch competitor in the business, Dalton, has none of his intelligence or subtlety.) Smith invests his first novel with psychological dimensions you might expect in a third or fourth book.

A breezy, involving thriller that handily overcomes any resistance to its grisly premise and leaves you hoping for the return of its oddly winning hero.

Pub Date: Jan. 17, 2012

ISBN: 978-0-8050-9426-8

Page Count: 336

Publisher: Henry Holt

Review Posted Online: Nov. 21, 2011

Kirkus Reviews Issue: Dec. 1, 2011

Did you like this book?

No Comments Yet

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

DEVOLUTION

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. 10, 2020

Kirkus Reviews Issue: March 1, 2020

Did you like this book?

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

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. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

Did you like this book?

No Comments Yet
more