An intricately plotted crime thriller that would have benefited from tighter prose.


Long Shot

This complicated thriller, set in South Africa, follows the infiltration of an international cocaine-smuggling operation in order to take down some of Cape Town’s most wanted, and it hits many of the notes of the classic noir—impersonation, menacing gangsters, unexpected obstacles and a femme fatale.

Jake Logan, a former military officer, wants nothing more than to open a bar and restaurant on a beautiful bit of beach, but he lacks the funds. When Frank Palmer—an old colleague and friend from the Special Forces and now part of the National Intelligence Agency—comes calling with a risky but lucrative job opportunity, Jake feels compelled to take it. Jake must act as Hans, the German enforcer for a Colombian drug cartel, which will then make a deal with Omar Plaaitjies and Amos Gold, two major players in Cape Town’s criminal underground. Even the best-laid plans go awry, however, and the situation quickly becomes more dangerous than Jake expected. Of course, race has long played a critical part in South Africa’s history, but the white characters in Claassen’s novel have a disturbing tendency to fixate on the skin color of black characters, who are variously described as a “shiny purple kind of black,” “midnight black” or “caramel color.” Not all of the racial descriptions are this ham-fisted; for example, Palmer delivers a nuanced, fascinating lecture on the failures of the government in its treatment of black citizens. The narration, which switches among characters, is heavily expository: “[Jane] sat back and thought about things. She was 32 years old, never married and bored to death with her job,” and so on. To be sure, it’s necessary to explain certain facets of the government and the political situation in South Africa for unfamiliar readers, but the integration of, for example, the definition of the NIA could surely have been smoother than: “The NIA was responsible for the domestic safety and security of the country.”  Further, the abrupt, short sentences create a rather staccato effect, making it difficult for the reader to be swept up in the flow of the story. A closer edit also would have helped alleviate distraction.

An intricately plotted crime thriller that would have benefited from tighter prose.

Pub Date: June 17, 2013

ISBN: 978-1482077520

Page Count: 336

Publisher: CreateSpace

Review Posted Online: Aug. 2, 2013

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


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

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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. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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